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Okay, Mark. That makes sense.
I hope this doesn’t come across as too blunt but this is simply not right.
I agree with Tbone. Even if the library only makes 10% of their income from sync fees, they should be sharing half of that 10% with the composers. Money is money and composers should be getting their fair share.
I would ask for 50% of all sync fees. That is how the business works. These newer deals cheat the composer out of money. They do not help anyone to make more money besides the library.
A one-time $10,000 sync fee should be split 50/50. That means the composer would get $5,000. Who really wants to give up $5,000 just because the library doesn’t make this amount on a regular basis? The library would be keeping the whole $10,000. Good money to use to pay for upgrades, bonuses, and parties.
Think before you sign.
Anyone have any good news? I saw 20 new detections for me today.
I can’t complain because it’s free, but one month doesn’t seem to be enough time to evaluate the service IMO
Keep using the service. It is free so no risk is involved.
First, the RF market is already flooded with composers. Many of them produce work that is sub par…not very good sonically, conceptually, compositionally, etc. Basically, they’re throwing whatever it is that they do against the wall to see if it will stick. Sometimes that works.
Because of it’s reputation for flooded conditions and poor quality, many experienced, professional composers have shunned the RF market.
That is changing. As a result, it may be harder for many composers to compete effectively.Too many scenarios and situations to make broad and blanketed statements. The definition of “professional composers” itself is not a constant thing. The market is always changing. My original statement had nothing to do with these other side issues brought up.
Anyway, carry on guys. 🙂
If you read the posts a bit more carefully DI it states that higher quality composers are considering and joining RF libraries.
I don’t think it said anywhere that “everyone is flooding into the RF market”.That is exactly what I said. You got it right this time!
So everyone is flooding into the RF market now? Interesting.
I see placements for shows on Scripps and ESPN all of the time. But I still get a lot more placements in shows that pay backend royalties.
Don’t get discouraged. Just try to work with companies that are paid a sync fee for each usage. Those sync fees are harder to come by, but can add up with the right library.
Seems like a nice tool for companies needing cheap and quick music in bulk.
WWE shows usually only air twice. You might get some royalties from replays on the WWE Network online, but don’t count on it. You are more likely to get a five-knuckle shuffle from John Cena than to get anymore royalties. 🙂
By the way, congrats in the placement!
Listen to John Fulford.
Whatever happens, I will be there to reap the rewards. That is my mindstate. I will adapt.
Thanks for the input!
That brought up another question: What if some of the libraries I’m in do not license as much of the styles I write in — Should I stop submitting new tracks to those libraries?
I would say yes. Focus on the libraries that work best for you. I have learned to focus on my strengths and not worry about what I am not good at. That has helped me to make more money from the songs I have already made.