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Sending music to libraries run by people I don’t know is one thing, but having my music be accessible to the pros is an advantage I should not let go. I want to make the most out of it without the idea that contacting them will be awkward and something I will loathe doing regularly.
Contacting professionals doesn’t have to be awkward. I do it from time to time.
You have a great opportunity by already having relationships with some professionals. Don’t be scared to contact these people. The worst they can say is nothing. The second worst thing they can say is no.
I can definitely help you out. Shoot me a PM. We can talk more.
Is the sound quality negatively impacted by the volume reduction?
Those are all great questions. But I am not sure what a music library would want to say. My feeling is that many owners are scared of being open because of one composer potentially becoming obsessed with the library. Some composers may even twist what an owner says and file a lawsuit based one statements made in an interview. This business is strange and people have a tendency to hitch their wagons to the stars.
I am 100% NE. I write a niche style, and don’t want to end up with my songs collecting dust at an exclusive publisher while the publisher tells me the songs are not being placed because they are not in a current mainstream style. This approach allows me to write exactly what I want, which is what I need to do to keep this fun.
That is very awesome! Much success to you.
Exclusive has worked the best for me.
Can someone respond to the argument made in this forum by an arts attorney? Here it is again:
https://musiclibraryreport.com/forums/topic/how-to-copyright-your-catalog/
I cannot respond to that argument. I would say that if you cannot figure out how to copyright your music, you should hire a lawyer.
I’m registering my titles with ASCAP. Can someone convince me I need to copyright, too, at 35. or 40. a pop? As with most people here on this Forum, we’re talking about music of short duration (“cues”) that will most of the time earn 100. – 200. when someone picks it up for use.
I strongly encourage you to copyright your songs. The upfront cost is a small price to pay in comparison to losing the copyrights to your music. If your music never earns one penny, it is yours and you should be protected. Copywriting is an investment in your intellectual property. Thieves are out there and will steal your music if they know it is not protected. If you want to protect your music, copyright it!
So again (sorry for the long post:-) – in Germany the broadcaster (or those “performing” music in general), only have to royalties to PROs, if the music is represented by a PRO. Again, if they use Audiojungle music – no PRO royalties have to paid.
Hope that helps.
Great info. Thanks!
Question: Have anyone here received any streaming royalties yet?
If so, tell us more!
My experience: I have received streaming royalties in the past through my PRO. They were for shows that had my music on Hulu and Netflix. The payments were very small.
DI, what are you talking about? Fighting for streaming royalties and looking for lucrative opportunities are not mutually exclusive. I doubt anyone is saying, “I think I’ll fight for more streaming royalties this week instead of doing the trailer for that new robot movie”. I know that’s a very literal interpretation of your comment, but frankly, you’re confusing.
Compared to performance royalties from radio spins and TV placements, streaming royalties are tiny. People should work to get what is owed to them. But even superstars receive tiny payments for their work. The business model is young, meaning that there is not a lot of money to be gained.
Chasing and fighting for more performance royalties is a good thing because they will grow in the future. But as of today, composers can make more money from focusing on the other performance royalties. I know the business is hard and confusing. But there are opportunities to get more money by other means.
The best thing for a composer to do is to work with his PRO to get performance royalties. I do not see any other solution to the problem.
I would sign the deal. Some money now plus more money later is a good deal to me. Remember, you can always make more music.
To get back on topic, streaming royalties pay so little because the money is not there yet. Where does the money from all royalties come from? Advertisers!
Everything from radio to TV to Internet depends on ad revenue spent by companies trying to sell things. Remember, the music we hear and shows we watch are there to fill space in between commercials.
Composers and songwriters should fight to increase streaming royalties. But at the same time, don’t let the small money from streaming royalties distract you from other more lucrative opportunities.