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I’ve tried it with a couple recent collections and haven’t had any luck yet (not surprised…) but it seems like the most fair method to balance exclusive library wants against composer needs. The trick, of course, is that it will only work when the most recent collection matches an immediate need.
This seems like an exercise in futility.
This plan shows very little understanding of the realities as to how things work. Not meant to be offensive, but it’s down right silly.
Listen to this!
Not sure why the answer turned into some weird composer revolt but it kind of proves its own point I guess.
A liability issue. LMAO! 🙂
I really don’t like working to temp tracks either. It’s a very uncomfortable situation.
It really is annoying sometimes. I have done a few projects like this where I get links to 4 different YouTube videos to use as references. None of them really sound similar.
I then ask myself the question “Why doesn’t the client just pay the money to license one of these tracks instead of looking for a knockoff?”
Of course clients want to save money, but sometimes it makes more sense for them to spend the extra money to get exactly what they want. I think that clients look to libraries for ways to get music for cheap. I wish that libraries would say “no” to requests for knockoff songs, even if that meant possibly losing a deal.
It was strike 3 or 4 for this composer (AK) and was the last straw for me.
Oh, that guy.
https://musiclibraryreport.com/forums/topic/music-library-music-ripoff/
Bigg Rome, are you with BMI?
If you cant understand biz, dont be in it. This is how it goes everywhere. S**t happens, peace.
WOW! Was that really necessary? Being rude isn’t cool.
When change comes all the composers who did nothing on the sidelines, will reap the benefits of those that stuck their necks.
This reminds me of a great quote by George Bernard Shaw, which goes: “The reasonable man adapts himself to the world: the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man.”
In Business, most people do lie. That why they say its business never personal. Sorry, that’s the reason writers are getting screwed now, cause composer are scared to speak up for themselves.
That is why we are losing royalties with P.R.O.,promos awhile the other guy make sure he gets pays, cause he recognize business.
If more composers spoke up about getting paid vocal background royalties the same as instrumentals (P.R.O.) , it would never changed.
if you copyrights are being used, you have a write to protect. They are intellectual property. They are something of value.
I don’t understand this “duck your head and hope for the best mentality”.
I cannot do that. I value myself more than that.I do agree with you that some composers are too timid. Most people have been taught to avoid risk. Some actually believe that being a professional means putting up with unfair treatment in order to gain some reward in the future.
The truth is that you, Bigg Rome, have to look out for you. I know that you mean well and want composers to stand up for themselves. But this will not happen on a grand scale. That is not how most people are conditioned.
If standing up to a company and asking questions helps you to get paid, go for it. There is risk in most endeavors. Sometimes the risks pay off and other times they do not. Whatever choices you make, own up to them regardless of the consequences.
You will become a great (and wealthy) composer as long as you work hard, ask questions, and correct course when needed.
I still think it is a liability issue.
It is a liability to disclose that information.
So…I never write on whim, or what I just “feel” like writing. I write
what I know functions in a given situation, based on my experience. Most writers seem to be focused on backend money from TV placements and probably don’t even think about what music gets used outside that world.Interesting. That changes things a bit. Writing to “moods” sounds like a new challenge.
I do whatever I feel like doing.
I have total creative freedom. This means that I have the freedom to sound like a genius or a total fool. I can make something glorious and epic or I can make something that a monkey with a drum kit and a guitar could make.
I have music all the way from Urban to Pop to EDM to Orchestral to Country to Jazz to whatever!
Either way I stand by what I make whether it is good, bad, or ugly. I own whatever music I make.
Good stuff, Bigg Rome. Good stuff.
I rally wish the last thread wasn’t erased. it was a really good conversation. Things do not change unless thier is conversation.
It’s too many people blocking “real” conversation.NEW RULES PEOPLE WE NEED TO GET OUT OF THE OLD MINSET
Cool. Tell us the new rules. Put us up on game.
So you meet every library owner in person and agree with a gentleman’s handshake and a glass of scotch? You seem very matter-of-fact and uncompromising in your statements. You must be at the upper echelon of the library writing business.
Twitter is good as a directory, at the very least. Find names, research those names, then contact them in the appropriate manner.
I apologize. I am not here to be a jerk. I just do not see the value of social media to make connections with music supervisors.
Do whatever works for you. I am by no means an authority figure. Conduct your affairs in the best manner for you.
Good luck.