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To all the “200 hundred a year” Or “1 a day” folks out there, I’d be curious to know what percentage of these cues actually place?
Not enough. 🙁
I just write fast. I don’t know any other way to do things.
I am trying to get up to 200 cues a year.
My main issue is not making enough money.
Bigg Rome, is this your music page? Good stuff!
Why not just add your music to royalty free sites that participate in Youtube Content ID? That seems like the easiest solution to me. Unless your music is extremely unique and mind-blowing, it seems easier and quicker to just provide your music to the royalty free sites that generate a lot of traffic.
Well my IMDB is not very up to date but this site has managed to pull a lot my credits in to one place. Including some music library stuff.
How do it know?http://www.allmusic.com/artist/art-munson-mn0000729099/credits
Dude, you are a living legend!
Thanks for sharing, Jack.
At least it is not a one-sided thread with a few people saying ‘everything but my way sucks’ like most threads I see in other forums.
True. There is still a lot of info to digest. Almost an information overload.
To be honest, I have not discovered any true strategy from these posts. If I were new and read this post all the way through, I would probably be more confused.
I do not think any particular strategy is important until a composer figures out what s/he wants to do in the long run.
If this discussion is about non-exclusive vs. exclusive music libraries, why did people start talking about royalty free music libraries? They have nothing to do with the discussion.
But when they get free exclusive tracks they will not work that hard to get the investment back because, they didn’t invest!
It depends.
And Michael, while there may be 10 guys standing in line, I have to say that those of us that have proven that the market likes our stuff and our stuff places and sells a lot can not be dismissed as “easily replaceable”. I notice the same names over and over on my cue sheets. The cream does rise to the top, and I do not believe that there is an endless supply of guys out there who can crank out broadcast quality production music year after year.
I am in full agreement with this statement.
Great composers with good attitudes and knowledge of the business are not easy for libraries to come by. They are an asset to any music library that sells to expand their business.
Of course music libraries can stop accepting new composers and distribute their current catalog. They wil make money from their existing catalog that already has placements. But I do not know of any successful company that stops doing business and just sits back and wait for checks. Music libraries always need content.
Any business model that generates revenue for the composer is a solid business model. I am not worried about competing for the spots at the stratosphere of the music licensing world. If I had access to those deals, I certainly would not be on MLR arguing (no offense to this site, btw!). There is plenty of money to be made out here.
If you don’t want to sign exclusive deals with no money up-front don’t… That applies to with or without reversion depending on how your feel about it. If you don’t think a type of deal is right for you, don’t take it.
I agree with that. I don’t do deals with companies that have policies I disagree with. It makes life easier for me. I just deal with the companies that work for me.
I just have issues with the “we can change the world” revolutionary thing whereby composers will tell libraries how to run their business ‘or else’.
I can understand that some composers feel as if the libraries are in charge and composers should not make waves. Libraries have to think of their clients first and the composers second. With that being said, most composers are at a disadvantage. But this is only because most composers do not know how to haggle with music libraries.
I think that the “revolutionary” thing is great, as long as it is channeled correctly. Reckless abandon and anger will get composers blacklisted. But learning the business and working with libraries over time can definitely result in positive change. This comes from learning how to negotiate.
You don’t get what you deserve; you get what you negotiate.
So someone has to have new ideas so that we don’t end up selling our tunes for $30 on a website… Wait… Anyway, you can mock the “weird composer revolution” talk all you want, but you say that about any industry. That’s why worker’s unions were created. I’m sure that I’ll be told I need a reality check or be mocked because I don’t know how it works. Whatever. Good luck to us all.
No, it’s cool. Don’t worry about being mocked. We need these discussions.
Viva la revolucion!
Note that all of the responses are “that’s not how it’s done” and not “it can’t be done that way.” So, you see, you’re all tacitly admitting that it’s possible!
The notion that it’s career suicide confuses me – I’m not interested in the no-up-front-exclusive deals as they currently exist, so I’m not in that market. I offer a product under my terms and if nobody wants to agree to those terms, that’s fine. I wasn’t in that market before, and I’m not in that market after. So I haven’t lost anything.
It’s just business. Some of the responses imply this is some type of personal attack – where is that coming from? It’s a bit Twilight Zone… Again, it’s just business.
You can all thank me later when the norm changes. I reserve the right to say you heard it here first
I say go for it!
I do not think it is the best approach based on the current business model, but change has to happen somewhere. I have tried to fight the good fight and got tired of playing games. I started to gain more success once I tailored my expectations and increased my quality and quantity of music.
There seems to be a growing tide of frustration with the current business model. Composers are speaking up and are coming with some revolutionary ways to change things. Something is happening and people are starting to speak up and resist the current state of things. If that helps to improve the business, it is worth the struggle and backlash.
If you can succeed in changing the music library business model, you will be a star. If you fail, life will go on as usual. Whatever your choices, own your decision and all of the consequences.