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Thanks composer. That makes sense.
One follow-up question: If I don’t have a lot of tracks that could be signed exclusively right away, would it still be okay to submit to an exclusive library on the basis that I would be providing new tracks to them moving forward? Or should I wait until I have at least a certain amount of tracks that are ready to sign before submitting? (If so, what’s a reasonable amount?)
There are many types of deals. But it’s common for a library to commission tracks. So you can pitch yourself as a capable composer (you’ll be one of thousands!), and they can commission you to create the types of tracks they are looking for. So, you don’t necessarily need to have lots of tracks available. You need to be able to create what they want, to their specs, on their timeline.
I would send a reel of your best work, regardless of whether the tracks are signed or unsigned. Just let them know whether the tracks are available.
I send unsigned tracks if I have them and they are just strong and suitable for the pitch as my signed tracks, and I have had tracks signed from the demo.
Also, a related question… What’s the estimated dollar threshold for following up. If a primetime network placement cue sheet is not filed, I would certainly follow up. If a cable placement that will pay $5 is missed, I would let it go. Where is the line?
I’ve been at this long enough to have a pretty good sense (at least a general range) of what a placement will pay.
By the way, in my experience the good network placement cue sheets always get filed and usually on time. It tends to be the low paying placements that get missed.
My “artist” tracks (music that plays on Pandora, sells on iTunes, et. al.) are registered with Soundexchange.
I have never registered my production music tracks with Soundexchange. Am I missing out on royalties for these tracks? (I know BMI pays for Hulu and Netflix.)
Thanks for any information.
So, if the files are identical, Tunesat won’t be able to tell you which library placed the track.
You do not need to upload the track to Tunesat twice. It detects the track, not the title.
Why would you resign from your PRO? What’s the upside? It doesn’t make any sense to me.
The policy is explained briefly in the third paragraph of this letter from BMI.
It seems to me (and I could be wrong, please let me know) that they are redistributing the wealth: greater payments to shows with better ratings, smaller payments to shows with poorer ratings. I don’t see any evidence that the total pool of money has changed. Has anyone has seen that information?January 23, 2015 at 7:07 pm in reply to: Composing for indie projects – How much to charge? #19515
$500-1000 per minute is a range that I hear from my friends in the video game industry.
For indie films, I don’t know if there’s an answer.
At the PMA conference last fall, Jeff Beal said that one option when the music budget is not adequate is to negotiate to keep all rights to your music. You can then try to exploit the music in other ways – use it in other projects, pitch it to libraries, sell downloads, etc.