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NOTHING good is coming from Library M nower days. If it’s not a race to the bottom, to take Writers share, It’s another race to the bottom, to elimate all future back end money.
All I can say is I’m not surprised. If M can encourage composers to give up 50 percent Writers share, then I’m sure they can encourage them to take $200.00 and forfiet all future royalties.
Somehow, I get a feeling that M is benefiting A LOT more then their new “Special” composer squad.
I wouldn’t be surprised if M convinced composers to sign a contract that is difficult to get out of.
All I can add is that I always get royalties from MTV, VH1 and BET. Not aware of any buyout deals on my end.
VIACOM/ CBS (includes MTV, VH1, BET)- I wonder, about them as I have been hearing about lots of shenanigans from fellow writers writing for “buyout fees” so these folks can build a library PRO free for “some reality TV shows”? Guys, is the $200 buyout really worth your time and effort knowing that is all you will get forever and simultaneously, you are helping them build up a PRO free internal library? What the fudge?
If you try Crucial, be prepared for a month or more wait for an answer on acceptance. Also keep in mind that they only accept about 10 percent of submissions, so it’s nothing personal if rejected.
I think there are probably younger guys submitted all loop based stuff to Libs right now and they wouldn’t know until they start hearing familiar phrases, beats, etc. I don’t use loops, except for a good shaker here and there, but the quality is actually pretty good.
I totally agree with Music 123 , that it isn’t the companies that are screwing us, it’s the composers signing crap deals and establishing new normals for the industry.
Good points Guscave but I never said they have to do the loop composition to a specific scene. They could have some of their post team belt out hundreds of loop cues, all genre specific.
“I think the answer to that would be “time”. Most production editors only listen to the first 3 or 5 seconds of a cue to see if it fits the sceen because they don’t have time to go through tons of files. With an average show having at least 30 or 40 songs an episode, editors don’t have the time to put together loops. Mix and master them accordingly.
The amount they might save in getting these loops won’t offset the time spent to put them together.”
David brought up a valid point:
“Buy a laptop and a loop pack, place em on a grid…screw with it for 10 minutes, bounce it out and upload it for distribution AND use in the adjoining media/music library pitching new music to supervisors on the cheap.”
How long can the business sustain itself with precanned melodies, midi chord packs and endless loop libraries? Some kids with a laptop can belt out 1000 tracks in no time. The tracks would be legal but would lack soul.
I don’t see a time that Libs will stop allowing loops in their tracks, even with accurate fingerprinting and watermarking techniques. Where would you draw the line actually? If a top notch pro uses a shaker loop, I guess it’s still a loop.
I am happy to help people with basic questions on how to get into composing for TV/Film, but when I tell them that they shouldn’t get into this business for the money, they slowly shy away from getting started.
Love the Iso Acoustics.
Got these on my desk to isolate my Focals.January 22, 2020 at 11:20 am in reply to: What´s your opinion on this deal I have been offered? #34097
I’m not telling you what to do, or give you legal advice, but If I had to actually lose money in WFH agreements to submit an album to a library, I would personally decline.