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Don’t enter in anything.
I don’t think either is particularly important.
Cues just sit in many libraries, never to see any licensing ever. It is sad considering the work composers must undertake to get into music libraries. It is a very harsh learning experience.
The lawsuit doesn’t make sense to me. If no copyright was violated, there is no problem to me. I think more score music should be recycled. Some of it works well in multiple projects.
I don’t plan on doing it. The music I write is top shelf and the production is high quality. I spent too much time on those skills to just throw a track away for $7. Surprised to see some really good writers doing just that.
Some writers just get desperate. A small sale becomes a sign of hope. But going for that sign of hope is an illusion. Someone else gets a great piece of music for cheap and the composer gets a few dollars that will not help to build a career or create any further momentum. The bad thing is the more desperate a writer is, the less money he/she will make.
It kills me to participate in the race to the bottom.
Don’t do it. There is no real money in selling dirt cheap.
Give it a shot.
Honestly, I could not name three personal favorite libraries.
That is based off of placements and income. I have one library that has given me 95% of my placements, a few in the works, many that I made nothing from and far too many that I could not get my music into.
It is rough out here for me even though I have music in over 130 shows. The upfront money and sync fees are virtually non-existent. The backend royalties are growing but very slowly.
I have no recommendations or advice other than to plug away and try to find your own path to success.
I found a lot of good info on making edits and 30″ versions here: http://bit.ly/1HcNPou
No subscription needed? That seems pretty cool. Their system isn’t perfect, but they seem to be continuously improving and adding more value. Seeing those detections can be helpful in knowing what gets placed and what music to make more of.
Question I have is… how long after a cue is detected in Tunesat will you see it show up in your PRO?
For me, it takes between two months to over a year. Some shows file cue sheets quicker and they get submitted to my PRO faster. Other times,
I see a lot of info in Tunesat that doesn’t show up with my PRO for a long time.Furthermore, my PRO detects many placements that never show up in Tunesat. They seem to have different detection methods.
Don’t worry about the royalties.
Just make good music and place it with the best libraries you can get in. All of the guessing and speculation and frustration does not help. A placement here and there isn’t going to pay out anything worth being concerned about.
It is about repeat placements on many different shows that builds up PRO royalties.
I would say that if money is the major concern, do not score the show.
Cable usually pays low royalty rates. The rates are based on viewership of the network too. If you want to make more money, score music for networks that have a larger viewership.
Don’t put too much thought into this. The rates for Playboy are low.
The royalties are the same as most cable channels. They will vary depending on time of airing, length of usage, repeat usage, etc.
Expect low royalties that will build over time.
Michael – seeing as the song is over four minutes long and is made up of unique sections, I would split it out into three separate pieces and make each available for licensing individually.
That is excellent advice!
Songs like this one are great for being played at parties and maybe on the radio. But they are too much for most music libraries. Split the song up into three different parts and extend each one to around two minutes. You will the. Have three licensable songs and can make edits to increase the chances of the songs being licensed.