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I’ve been working on a cue on and off for a month. Sorry no loops. No Garage Band. No bargain synth sounds. No sloppy unmastered mixes.
But,there is plenty of real composition…you know melody, harmony OMG…even counterpoint!
Full orchestra: LASS, Symphobia, SAM Classic Brass, CineBrass PRO, EWQLSO, True Strike Perc, EW Symphonic Choirs, Hollywoodwinds, CineHarp….
AND…this cue is going into RF libraries.
Why not add cues like that to PMA libraries or UK exclusive libraries? You would give up the copyright, but your music would probably get used more often and make more money than most RF libraries. Doesn’t your top shelf music deserve a place with the top shelf companies?
I work with PRO libraries. I just do not have any music with the UK music libraries yet. I want to work with the UK music libraries. They are tougher to get into, but seem to offer a greater return on investment than other PRO libraries.
I’m just confused about everyone’s definition of an “RF Library”.
Since most RF libraries are PRO libraries then the statement that Tim makes doesn’t really make any sense.Tim probably works with well established and older UK music libraries.
Read further here: http://www.prsformusic.com/users/productionmusic/Pages/default.aspx
These libraries work within the MCPS/PRS guidelines. They all seem like excellent companies to work with!
Read further here: http://www.prsformusic.com/users/productionmusic/libraries/Pages/default.aspx
I guess you’re assuming the quote you posted means that the person wrote 60 songs and is now set for life? That might be the case but I highly doubt it.
I do not think Tim stated that, but he must have done something right. He seems to have made the right choice and is reaping the rewards. I want that kind of success eventually. I defer to his judgement based on his success in this instance.
But I have around 60 tracks out there on PRO / MCPS / PRS libraries (many as co writes too) … and haven’t had to work for another company since 2006. Have hardly written a thing since then either. Try that with RF. I’m not gloating here … I asking people to see the differences and make the right choice.
Wow, that is spectacular.
I am still working on some unique and clever music for submission to PRO / MCPS / PRS libraries. I am not sure if I will get in anytime soon, but it is definitely worth trying. It will take time.
I think the catalog is watered down. Jared has a ton of songs with other JP staff writers. I cannot compete with that unless I write something that the staffwriters do not cover. Plus I recently had about 30 exclusive cues removed, which has decreased the number of songs I have there.
Sorry if this post is getting off-topic. Just thinking a bit.
I agree with Art. I got in JP around 2010. I have about 500 songs there. But most of my placements are from songs I added between 2010 and 2012.
Many of the songs I signed exclusively have not had any placements. My older stuff is being used on newer shows. Maybe the music supervisors or editors liked those songs and decided to use them on more shows.
I am reducing my output a bit and am searching for exclusive deals from libraries that commission work. I am also working on contacting a few music supervisors to shop some music to.
My mind was blown. That music is definitely “evergreen”. Awesome.
I have done a few projects with co-writers. I always split everything evenly. I like doing my part and sending what I have for my co-writer to perfect.
Don’t give up on the “older” libraries either. The large exclusive PMA affiliated libraries need great music as well.
You have to put in the work. I am not sure that research is going to help with some companies. Perhaps talking to someone at the company can alleviate some fears. Learning how your music may fit directly from the library owners helps.
Just take a day and give companies a call. Have a group of questions written down so you can ask the right things and get the right information. Some companies will be helpful and some will not. But asking companies directly provides a great deal of information.
His blog post makes a great deal of sense.
The part stating “The music market is splitting in 2 parts; there is the “blockbuster hit driven market” with 300,000 hit-songs generating 90% of existing revenue and there is the “long tail market, with 650 million recorded songs competing for the other 10% of revenue.” was very eye-opening!
I am not sure if I would sign up for this service, but I am defintiely taking some of the comments and statements into consideration.
Ah, the dangers of upgrading. I recommend having at least two computers for making music. One old school rig with all of the classic sounds and a newer experimental setup for the new stuff. And always back up stuff in multiple places.
Dont know if garage band counts but I believe some indies have created whole albums with it.
This one guy uses the GarageBand App to make jingles.
Link: http://www.theawl.com/2014/10/provocations-of-a-bad-jingle-writer
I downloaded the iMaschine app a while back. It was fun to use, but not really useful for me. I need to have access to a ton of sounds, even though I end up using a few keys sounds for most songs. I might give it a try again, as I erased it when I updated iOS a while back.