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thanks for your openness Mark. one thing you didn’t mention is the year you started. do you think if you were a media composer starting today versus 10years ago would those numbers be achievable with exponentially more publishers and composers now working in the music production sync game competing for the same gigs?
Not sure it would help much as different composers have different experiences with the same library.
exactly this.
wow thats nice. good to hear daveydad.
i think it was a bit insulting to trailer composers and music sups that they think that damage loops banging out on a keyboard is anywhere close to proper trailer music. trailer music more than anything is about nailing a feeling and a tension. you often find those who criticize it just cant do it very well. Daniel would be very much of the school of Thomas Bergersen which is far more thematic and melodic as a style and is very dated these days hardly ever placing in trailers. TSFH will always be legends but its moved on since then.
i dont know anyone who pays for it.
hey mate. welcome on the start of your journey. in answer to your question i tihnk yes those RF are a good place to start. thats how i started out 4 years ago when i was only getting in production music. i started with Pond 5 myself and also audiosparx. never made anything form audiosparx but others have done well. on the other hand i done pretty well from pond 5 with just 15 tracks upload. i think the best month i had of sales from those 15 tracks was $220 so its possible to hit your target for sure especially if you upload alot more tracks than me. best of luck with it.
hey man i’d be very careful with the tracks you’re referencing. i could be wrong but it sounds to me that you were referencing the trailer for Hereditary which is of course an awesome cue but maybe yours is possibly too similar? i’m not sure check for yourself here.
but if your client is ok with yours then thats good i guess 😉
is crucial still non-exclusive? if so its probably the only good non RF library left. all the rest as others have said have gone exclusive.
well i also fell foul to ASCAP’s survey system. i’m not long doing this but i have not been paid for multiple placements on CBS sports, BTN, Life and more. i resigned from them in the window in October and will be moving to BMI in April. initially i was gonna move all my tracks across but for now i think i’m just going to leave them there with ASCAP and write new tracks to register with BMI. over time it will be interesting to see how things pan out over time.
simple solution. leave ASCAP. their system is a joke .
thanks for your post music1234, this makes me feel alot less concerned being an ASCAP writer. i’ll have to just wait and see how things pan out over time.
this ASCAP survey method has me really worrried now. i’ll find out if i’m a victim to it when the next quarter is paid out in April.
this is an absolute joke. if ASCAP are well aware of this and know its causing many composers to jump ship and move to BMI why dont they change their system? this has me wishing i never joined ASCAP at the start. if i had of known they were like this for TV placements i would of choose more wisely. i’ve been getting lots of BTN placements recently but its way too soon to know if i’ll be paid for them or not. from the information here it doesn’t sound promising. on the other hand do know of one composer here who has done very well from BTN placements and he is with ASCAP.
any ASCAP members here? what percentage of cue sheets to royalties are you receiving generally?
well thats good to know that you get royalties not just based on cue sheets. i thought they only placements that appear on the royalty statements are those linked to cue sheets. still a newbie with this.