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Honestly, splitting up music is more of a headache.
When I was new to the music licensing world, I tried all of those experiments and failed at most of them. For me now, I only submit to libraries that have music that is similar to what I produce.
I work in a few genres and really do not feel the need to branch out. I work on incorporationg outside elements into what I do. That is what differentiates my music from a lot of the other music out there in the same genre.
For instance, I know that I am not proficient enough to make orchestral music. But I can incoroporate string, cellos, or violas into an electronic song. I do not make country music, but I can add a banjo or harmonica groove into a hip-hop track.
I think that listening to what music a library has is the most helpful thing you can do. Some libraries do not branch out and only are successful at a few genres or styles of music.
Listening to what you make and submitting to the companies that work with your style is the best thing. It saves a great deal of time.
A whopping $17.00…..
Hang in there, man. You’ll get past these low payments. Just keep putting in work.
I’m not twisting your words. That is what I thought that you meant. But, I’m not sure if it’s what KUBED meant.
I mentioned JP, because companies like JP are not necessarily libraries in the “traditional”sense, in that they do not generally
own copyrights (other than their own). They are licensing agents and publishers.In fact, if your read deeply into the info about some of the companies that we are calling “libraries,” you will find that they are licensed/registered as “agents or agencies.” I don’t know if JP, specifically, is registered as an “agency,” but others are.
So…to refine my question: Are you referring to a “library” that is actually a licensed agency, or an agent, as in representation.
You answered the latter, which is what I thought you meant.
EDIT: If I were to act as an agent, as many lawyers do, I would not represent, or pitch, music for a project, if I knew that it could be in the position that Kubed described. That is why I suspect that he might be referring to a “library” rather than an agent.
That doesn’t make sense at all.
Anyway, congratulations Kubed. I am happy that the situation worked out for you. Hopefully you will be able to land more deals for around $3K.
It is hard out here for a composer. Your work must have been top notch!
Not sure if DI is confusing Licensing Agents, like JP etc. with having an agent, as in representation, which is a completely different thing.
I was under the assumption that this story was about having an agent, as in representation. I don’t know how JP got thrown into the conversation. Why do my words always get twisted up?
My main question is will this agent be able to get you more work for a similar upfront fee?
If this is a one-time deal, it is not something to worry about. But if this agent is able to get you continuous work for an average of $2,000 per placement at least once a month, I would ditch the royalty-free sites. A good agent is a great resource to have.
If I were you, I would do my best to work with the agent for newer music placements.
Waiting is the hardest part of the business, whether that is waiting for approval or waiting for payment. Patience is almost more important than talent. 🙂
Good stuff
A month seems reasonable to me.
I am talking about both kinds of music libraries.
For exclusives, it would be better to write for whatever demand that they have. For a few exclusive libraries I work with, Inget requests for songs in certain genres or with a certain vibe. I write to those listings.
The other songs I come up with on my own mostly go to non-exclusive companies. But even a few non-exclusive libraries have a need for certain songs at certain time points. Asking what a library needs is probably the most helpful thing for composers. Providing what is needed at the right time is helpful.
Tunesat is working good for me. I get steady hits for the songs that I have registered with them. But most of my songs are not registered with Tunesat. I still see new placements in my PRO account.
None of these digital fingerprint systems are 100%, but what is?
ASCAP + BMI already have fingerprinting in place and are paying out on it, but it different areas and in different ways. The Production Music Conference this Friday has a panel with Lynne Lummel from ASCAP on it – she’s the SVP of Distribution and Repertory.
Oh cool. Hopefully they shoot a video and post it online. I would love to hear more about the subject of fingerprinting from other professionals.
Yeah, go get it mixed and mastered. You will learn something from what the professionals do to your track.