Forum Replies Created
-
Posts
-
Alan, how big is your library?
It looks great Keith, I’ve been wanting one of these for years. I would buy it today if it had:
-Submission records (so I don’t accidentally re-submit a track)
-Financial/Sales data tracking, i.e. who licensed it, how many times, how much income did it generate
-Placement data, i.e. Series, episode, original air date, PRO income
-Tunesat detection importWhy not buy it in its current state? Your support could help fund the team to make new features. No software will ever do everything. But working with the features it has is better than not using it at all.
Don’t wait for perfection!
I am officially weird. Yippee! 🙂
I guess if you license a piece 500 times it makes sense but….
I saw some decent stuff that has been there for years with little to no licensing. Not sure how accurate the numbers are or who the people are licensing some of these tracks so many times. Are there really 500 people that are going license the same track in a year or two? This market is new to me and it seems a bit odd.Welcome to Music Licensing!
Yes, it is a tough world out there. No rhyme or reason to it sometimes.
The site said “The money really adds up: We’ve monetized over 30 million videos to date,
and this year alone, we’ve paid out over $10 million to our rights holders!”So $10 million dollars divided by 30 million videos equals $0.33 per video. That is the average payout.
But of course some videos make a lot more than others. Many probably make nothing with a handful making a lion’s share of the money and some others bringing in smaller amounts.
Does this make any sense for composers to sign up? Not to me. Where is the money?
I have a question for Art: Did you have your PRO info available at the RF company for clients to use?
If so, that client should have done the right thing and filed a cue sheet. I am sure that some clients know better. But they can always claim ignorance and say “This was a royalty-free purchase. I paid my money so I don’t care about filling out cue sheets”.
I am glad that you were able to get your PRO royalties out of this whole ordeal.
I would go with the discerning approach as well, but only for submitting music. My first thing would be to use the scattergun approach and make initial contact with as many libraries as possible.
A brief message describing your music and asking if they are taking submissions should work. Some will not respond and others will state that they are not seeking music. The libraries that respond with interest are the ones you should submit music to. If you have 10-14 tracks in a particular style they need, then submit.
As far as the royalty split, the library probably means that they get the publishers share of royalties and you get the writers share of royalties. That is how most music libraries work.
Good luck and have fun!
RF libraries are not where you put your music, if your focus is on broadcast placements.
True, but if your RF music is used for broadcast purposes, royalties should still be collected.
Exclusivity probably makes sense for the RF model.
Great topic. Does anyone have any updated info?
As many as possible, until you find the ones that get steady placements for you.
But it’s not working in the way Tunesat said it would work- namely, that Tunesat would compare their detections with my ASCAP statements and file exception reports on my behalf with ASCAP.
That is a huge problem.
Working for me.
I am looking for a new “one” for 2015. I am trying to get a horse in the race at some of the lesser-rated and discussed libraries. There has got to be some serious action out there that I am missing.
The exclusive market looks ripe for tapping based on some of the new music I have heard from many of them. Many of the PMA and European music libraries have been releasing some great music. They are selective, but seem open to more modern styles of music.
Thanks DI. So, you’d say that doing well in this model requires quantity…500 cues, or more?
Absolutely! For me, that is a good thing. I like making music and making it pretty quickly. And 500 cues is a low number these days. Aiming for 1,000 or more is best. These shows use a ton of music. I see Jingle Jared + plus cowriters with placement after placement. They seem to work fast and work hard to get those placements so the royalties will continue to flow. 90% perspiration!
As far as distinct cues goes, I am not sure. I am at over 500 and probably a third are edits. I said ‘why not’ after I ran out of ideas and made edits of some of my stuff. I now usually do at least one edit per cue. It is an easy way to bulk up my catalog and provide more options for clients.
Quantity is not for everyone though. There are many library composers with less than 100 songs making 100 times more than me. So I say to anyone, just work to your own ability and stop worrying so much about quality vs. quantity. It’s only music.