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hey man you really should spend the time reading the forums here. there is a treasure trove of information here. this is a long hard road that we all have to follow and everyone is struggling to keep in the game every day. nobody is going to spoon feed you everything and if you expect that in this industry you wont last very long.
saying that in my opinion you should avoid any pay to submit libraries.
yes its normal. well for pond 5 anyway.
thanks Euca. because i’m based in Ireland direct payments is not an option. therefore does this mean all the payments i recieve from ASCAP for royalties will be sent to me via cheque? back to this threshold of $100. does that mean ASCAP could have a record of royalties in their system but it only shows up on the online portal once the total amount goes above $100? basically what i’m asking is should even small amounts of royalties show up on my account even if they are not above $100?
wellcome man. in terms of RF pond 5 are good.they’re the only one i use myself. what i like most is that they dont micro price your work and instead allow you to set your own prices. start there see how you get on and try catch some sales. one other piece of advise i would give you if you are starting in this part of the market is to really get good at describing your music and its uses, metadata basically. it will stand to you especially in RF land were you music is competing with hundreds of thousands of other tracks.
there are a few other places you could try, tunefruit, audiosparx, productiontrax.
seems to me you’ve covered most of them there. after that i think you’d need to be moving up the food chain to the higher end libraries but i could be wrong. another one you could try is coney island music. they opened submissions a while back but i never bothered. not sure how well they do with placements but i’ve heard good reports. another one similar to epitome would be cueniverse. nice guys over there too.
how do you know?
part 3 is now out for anyone interested.
great thanks for that euca.
hi guys still a newbie to this whole PRO back end game. i found a page on the ASCAP site called ASCAP distribution schedule. i presume the dates for domestic writers distribution is when we the composers see our royalties on our account? does it have to be over a certain amount of money to show up or does it show all placements no matter how small the amount?
also it seems they then pay out again for international royalties but they don’t seem to split this one between writers and publishers. whats the story here?
so would i be right in saying that the next pay out date for us ASCAP writers is July 10th for Q4 2016?
excellent stuff thanks Kubed. this film should give our industry alot more exposure when its released hopefully 🙂
anyone know if this film ever got made?
these are probably the kind of hours you need to put in to be really successful.
but yeah i agree, you must sleep about an hour a night Mark ha ha.
interesting. i don’t know many people who buy from iTunes these days, most people i know have switched to the streaming services such as spotify. surprised to see your revenue from iTunes so high. that’s a good sign at least although i would say the trend in the future maybe that those percentages are reversed between iTunes and spotify.
hi Mark is this the new strategy for you and other established artist in selling your music? i.e. cut out the middle men spotify/itunes and selling direct to your following?
i think it makes perfect sense, if more and more artist start doing this then the digital stores will have to take note and stop robbing artists of making a living.
the only thing that gives these places value is the music from the composers on their platform. if all artists start selling direct then they will have to start paying out fairly. i guess you have the luxury that you have built up a big enough following over the years to take this approach.