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This makes sense. The instruments become affordable for more people and the company makes steady revenue. Adobe already has a subscription based service for its products.
Hopefully more music libraries will start to implement these services as a way to keep up with royalty payments. That will in turn help composers to make more PRO revenue.
The question is, though, is this such a bad thing? Through my work in trailers, I’m fortunate to be able to say I now make more from iTunes that from royalty free sales (one went up, the other down). Perhaps the stolen music is acting like an advertising campaign – taking its ‘fee’ but still working fairly cost effectively.
Man, that is awesome. Good to see that even though one revenue stream dropped, another picked up. And you are selling more on iTunes. They get a ton more traffic than most RF sites combined. Congratulations!
What do you have to lose by someone ‘stealing’ your music?
If someone’s going to use your music illegally, or download it for listening purposes without paying for it, they weren’t going to pay for it in the first place.
Large publishing companies and record labels have been unsuccessfully trying to fight piracy and theft for over a decade. If artists like Bruno Mars, Beyonce, Katy Perry are having their music stolen, then my music doesn’t stand much of a chance of not being stolen.
Piracy is wrong, but there isn’t much one can do about it besides not releasing music over the Internet.
Have we really dumbed down to the point where even period music has to have a beat?
I don’t think so.
Any piece of music can sell. The strangest and most bizarre music can find a home somewhere. Also, the newest and most modern music can sit without getting licensed. People should make whatever they choose and get it placed with the right libraries.
Sure, there isn’t a large market for a lot of period pieces. But why not sign it to a library that is willing to take a chance? It may just take longer for the niche music to find a home. Just write it, submit it, and forget about it.
The important thing is to place whatever you make with the right company. Companies that accept your music don’t want it to not get licensed. They want to serve their customers and make money too!
Remember, anything can get licensed given the right circumstances. Just don’t bet the farm on it getting used a week after you sign it and making a $100,000 sync fee.
The way to make money from backend cable placements is to have a large quantity of music to license. You can find non-exclusive licensing and exclusive licensing agreements that can help you to achieve the same goal. Even with most exclusive deals, you are able to keep your copyright and remove your music after a certain time period.
I’d say pass on the deal that you were offered. Companies love to sell the “backend dream” to composers these days. For the most part, the backend income doesn’t justify giving up the copyright and not receiving any upfront payment or synchronization license fees.
AS did this and rolled out their —-cult TV thing…my music is still stuck there and after 3 years there’s not even a glimmer of a placement..and if there was (which there isn’t) it’s still only backend $..they should let people out of that deal as it’s really just a black hole..boy did they talk that up…ugh…can’t believe I got fooled by “the music that powers hollywood” ugh..squared…
I feel you on that one.
But on the other hand, stuff happens. Don’t even worry about that deal if your music is non-exclusive. Place it elsewhere and move forward. No need for frustration or regrets.
Wow, thanks for the info Dave!
@MiachelL & @Desire_Inspires thank you for how much you contribute to the forums on MLR, I’ve been trying to inform/educate myself on how to finally break into this industry after 3 years of getting acquainted with it and your perspective and experience is priceless.
Thank you!
I am no expert by far, but I have learned a lot through trial and error (80%). I also have learned a lot by listening to people much smarter than me (20%).
Maybe I need to balance that equation a bit. 🙂
It doesn’t sound fishy to me. I always send out a 16 bit, 44.1/44 kHz WAV or AIFF file for audition unless they ask for mp3s. That is the standard that most companies use.
Ah, this looks cool.