Forum Replies Created
That’s great, Alan. Here’s a question. If you have tracks signed exclusively somewhere, are you free to upload them to Tunesat? I realize that all they’re doing is detecting, but still, I think it’s a fair question.
Thank you, Beatslinger!
Thank you, Art!
I love Drummer! Intuitive and great sounding. As for synths, I love the Alchemy package that comes with Logic Pro now. That used to cost more than Logic as a standalone, and now comes free with it.March 15, 2016 at 12:08 pm in reply to: How protected is work between submission to Copyright and receiving registration #24365
You are of course absolutely right, Michael. I just wanted to differentiate between creating the song and actually putting it down in some tangible form.March 15, 2016 at 10:03 am in reply to: How protected is work between submission to Copyright and receiving registration #24363
A copyright goes into affect from the moment you create the work, not from the moment you register the work.
To clarify, it goes into effect the moment you put the work into tangible form (recording, sheet music, etc). That song you have in your head is not protected while it’s still in your head. Record it or write it down, then it’s protected.
Yep, I also hear that it’s best to diversify. Some favor exclusive deals, other favor non-exclusive, some favor a combination of both. To each his own! Btw, I’m not an attorney or anything, and this isn’t legal advice 🙂March 10, 2016 at 9:22 am in reply to: Do libraries ever hire composers and pay salaries? #24325
I was part of an “in-house” group of core composers for a PMA library for several years. I did 10 to 15 tracks per month, not “7 a day.”
That sort of deal is rare these days.
Sounds like a pretty good deal, if you can get it!
I could be wrong, but I would imagine that from a supervisor’s point of view, exclusive libraries would be more valuable and hold more weight. The “this is the only place you can get this track” deal. Of course, I could be dead wrong. So far I only have tracks in exclusive libraries, not intentionally, but because that’s just how it worked out. If I ever do sign with a non-ex, I probably would treat it as exclusive anyway so I don’t have the same song out there a bunch of times under different titles. It just seems that if I did that, I’d be competing against (and undercutting) myself.
And yet, as the article points out, people continue to flood into this business!
Not surprising, considering it’s one of only a few ways left to actually earn an income from music.
Hi Michael, thanks for chiming in. I’ve seen it twice so far, one with an exclusive library and one with a non-exclusive. I do have an attorney check out contracts. This was the first time I’d seen this though, so I wondered how common it is.
Bet that’s it, David. I was an independent contractor for several decades, and I didn’t get a 1099 unless I crossed that threshold.
Forgive me, but what book? I want to read it also, so let me know! I enjoy Robin’s blog.
See, Jean, that’s exactly what I wondered about, the perceived value of a composer’s music when they are included in RF libraries.
To each his own, I guess.
Not yet, but that’s awesome! Congratulations!