[NY Composer]

Are any of you guys familiar with Composer Cloud?

You can download unlimited EW VST’s for 30 bucks a month. They don’t list every single library they ever made but have enough stuff on there for any composer of any genre to use for years.

If you stop the subscription, you can’t use the EW stuff anymore. That’s only down side but thousands of dollars worth of samples for 30 bucks a month is awesome IMO.

BTW, Kubed, IMO although expensive, Project Sam stuff is the most awesome string stuff I have personally heard and used.

[NY Composer]

Yeah Art,

There are exceptions to the rule. I have heard about the Europeans sending whole hard drives to RF sites and selling tracks for 5 bucks a piece.

I still stand behind my statement that we musicians are our own worst enemy in many instances.

[NY Composer]

I think it comes down to us musicians being our own worst enemy. Hear me out here.

It’s the same premise how younger or more selfish musicians undercut pros at ridiculous low rates for gigs.

There was a time that I could do a Straight Ahead gig or wedding and get a few grand for the guys. Then, the young selfish dudes came in and undercut everybody and accepted a hundred bucks a person for gig. Now, that’s what clubs and halls EXPECT to be the norm.

Now, here in New York, it is so bad that people are actually PAYING CLUBS to perform there!

My point: Same thing with the Libs. If everybody banded together and said hek no, they are not selling their compositions for 40 bucks, the market would dictate higher prices. If the whole flood of 15 dollar tracks continues on RF as well as non-ex sites, guess what? That will be the norm because someone thought that was an acceptable selling price and screwed everyone else.

Soon, 5 buck will be the ACCEPTED NORM unless WE do something about it.

[NY Composer]

Al,

Thanks. I think you helped me make up my mind real fast :-).

[NY Composer]

While we are on this topic, I wonder what you guys feel about the Rumblefish program. Not sure if I should opt out or not.

I originally opted in for Crucial but they told me it’s not too late to opt out. I having been hearing too many bad stories about internet video use.

Any thoughts would be appreciated.

[NY Composer]

I agree. That’s BS.

Pump/Getty now asks when you upload if you want to be Performance free. You can check a box. They urge you that you can get better sales.

Keep your 40 bucks. I’ll be hopeful and wait for a placement.

[NY Composer]

Ohh, I meant the people who belt out hundreds of tracks. I can’t see personally accepting that amount for MYSELF, let alone giving it to others to use. Again, that was just me and no offense to anyone else on the board. I also don’t know if that is yearly, 2 years, etc, so I can’t really comment too much on it.

Although I have been in this biz a very short time, I shop the Libs for my approval. If our tracks have to go through an approval process then we should be seeing placements in the blog, main page , etc.

I have a problem with writing an polyrhythmic Orchestrial Action Score for a 14 year old kid to buy it for 40 bucks and use it for his school film. This is not a problem with my ego but a problem with the industry which has gone to crap for musicians.

I remember when I could play a gig in a Straight Ahead Quartet or Wedding band and pull in a few grand for the boys.

Now, there are guys with laptops and Mics doing the same venues for 400 bucks. I also blame musicians for undercutting eachother for “Exposure”.

[NY Composer]

Erick,

Very sorry to hear about your loss. It must be very difficult.

I guess you are like me in a way, a perfectionist. If I am not moved by my song, I am certainly not going to give to other people. Hope that doesn’t come across snobby sounding but I can’t imagine “Mass production” song writting, unless I emotionally approve of each one.

BTW, I also tend to record “Real” instruments in my tunes with quality players. This CERTAINLY takes time….

[NY Composer]

Wow!

Some of you guys have hundreds of tracks! That’s very impressive.

I have been a musician and writer since I was 12 and went to school for music. Unfortunately, like many of my fellow musicians, we needed a “Day job” to pay our mortgages and take care of families.

Even if I was a full time “Composer”, doing this for Libs all day, I would not be able to belt out hundreds of tracks due to my own quality standards. I have a problem with writing songs just to get songs written. I write from my heart first, then submit to Libs if I feel the songs should be in there. This is just me and I am not judging anyone else. I can understand how I can up the number of tunes by just muting a melody track, doing another melody, then presto, another track.

I have only been doing the Lib game for a year or so. My Cousin is an entertainment Attorney and helped me out with the contract process. You guys are also an invaluable help to me. Not all Attorneys write songs for Libs 🙂

Since my time is limited, I will only place songs in Libs that show a track records of placements. For Instance, I personally consider getting my tracks into Crucial an accomplishment so I aim for that bar. Again, that’s just my opinion. They have a proven placement record. I also am signed with 6 other Libs but that’s enough work for someone who spends 50-60 hours at a “Day job”.

[NY Composer]

Music123,

I have always done this as standard practice, even before I knew what a Lib was. I just don’t know in what instance I should NEVER register with my PRO 200 percent. Some people seem to think it can interfere with all types of Libs. However, I know regardless of how you register, Libs such as AS, etc register your titles with their own code..

[NY Composer]

Correct but the fact that you have self registered your own material as 200 percent, should not interfere with any other Lib using the same song I hope.

[NY Composer]

Thank you Sir for straightening that out.

Now for the folks on the board who say never register your own songs and let the libraries do it when used. I don’t know what to say….

[NY Composer]

“If it’s not AS then you would have to register and make sure the cue sheet is filed with your PRO. If not filed you will have to chase down the production company to make sure they do so. Best to wait until after statement to see if you were paid. Don’t bug the production company unless you are absolutely sure!”

Not to confuse the issue but you would probably never know if the cue sheet was filled out properly because P5 is not going to tell me about any placement in the first place. If I am lost please correct me :-). So in the case of any RF, I should register my own song as 200 percent with my PRO?

[NY Composer]

I am with AS and do know that they put their own code on my catalog.

Here is what I was talking about. A quote from P5:

“We don’t deal in performance rights admin at all at this time. The artist retains 100% of their publishing and needs to set that up themselves. We have fields for artists to input their PRO / composer info and we strongly encourage buyers to submit cue sheets.”

[NY Composer]

Interesting Mike….

[Author]

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