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There is a section of the film music community who see film music as high end orchestral composition . Some of it is no doubt, but they get into a frenzy when the see/hear anything break that mould, and even more so by someone who in their view has not had a “classical music” education.
Well if a film composer has not studied at a conservatory, that composer is shameful. We must work to maintain the proper level of rigor, training, and education to OUR craft!!!
(heavy heaping of sarcasm here, folks :-))
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Since I see that Zack’s dad is a highly successful music pro himself, I wonder has he given Zack any tips. Having a parent who has worked with great artists and who has done work for multinational companies would be intimidating.
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Hi folks,
all weird discussion here. People tend to patronize to easy what`s good or not good to do for others. Let everyone make their own experiences. The lib bizz is constantly changing.
I follow with interest all the very nice and informative comments here and in the same time I get borred of so many comments.
There are top selling guys in the RF bizz and top selling people in the excl./non-excl. Pro bizz. What`s the problem about it ?
Quality, that means good songs, will always make their way….
Michael L. is so right; control of your own catalog is a nice value.
I make good money with excl. libraries and my music is running in TV and I also make nice 4figures money with my RF catalog. What`s the problem with it ? Is that bad ? Am I evil for doing both ways ? No.
I am a musician and I love to write and produce music. Good and honest work will be honored after a while at least in my experience….
Try out everything folks…….
Wildman
This is good advice.
The music sups point is that it’s not, which makes total sense to me. By doing my own homework I make further advance than dealing with something like that. Some people are desperate .
I said this before. You cannot critic a music licensing song submission with the usual,common type ear of an A&R. You are ” NOT” trying to search for a #1 record for billboard persay. That is what is happening in these type of situations. Critic lyrics for a music licensing submission is ridiculous cause, no one knows what a project might request
Good points, Bigg Rome. 😉
I recently got a really big placement. Just building my own relationship with a very cool music supervisor. Not hounding him, but truly engaging in the thing we we both love which is “music”.
Congratulations.
Never let a company tell you that you do not matter. Besides the “car company”, I have been rejected by most major and minor libraries out there. It doesn’t even matter.
I worked hard and succeeded despite setbacks. No need to disparage a company for not accepting your music. You have to accept yourself and make things happen.
I have an idea who Fauxmusicsupe may be. The person I am thinking of actually does business with the car company. This person actually posts on that forum from time to time. I could be dead wrong though.
BTW, I used that car company for a few years when I was new to the business. I will give no praise or criticism to the company. Each composer should decide for himself or herself what avenues to take.
Interesting, nonetheless.
Just read my post about Fauxmusicsupe at the “car company” website. The owner of the “car company” has stated that Fauxmusicsupe has attended the yearly conference in the past. I guess that his identity is an open secret to those in the correct inner circles.
It will be very interesting to see how Fauxmusicsupe’s tweets and viewpoints change once he is finally revealed.
Since I am not making six figures yet, I will use all tools available to get my music out there. I am my own man.
Everyone has to start somewhere, but I suggest you read all the threads that discuss how many cues it takes to make a go of this…1,000+
Yes. Flooding the market with quality music is the key to success. There really is no secret besides that.
Before social media, your theory might be 100% true. But times have change and so has influence. Word of mouth about a particular topic is a big thing in today’s world
But that is the thing. Anyone can be an e-activist. But once money or jobs or even reputation is at stake, most people will back down. The anonymity of the Internet gives people a sense of bravado that often does not translate into real life.
Let us remember that Fauxmusicsupe himself is an anonymous Internet poser.
The music sups are responding to him. This is something you just can’t ignore.
Actually, we can ignore it.
Even more, the libraries that he denigrates can ignore him too as long as they are successful. Even though he has some influence, he probably is not going to shut down a successful company.
There are companies doing much worse things to employees and customers. Things like not filing cue sheets on time, not paying sync fees, or signing songs exclusively are pretty small in the whole scheme of things. Composers have to remember that success in the music library world comes from hustling, not tweeting.
Fauxmusicsupe brings up some valid points. But he seems more interested in promoting his own agenda than helping out music composers. He needs more than satire to change the world.
Not to be a jerk, but a lot of libraries! If you are not a member here, subscribe for a week and search the 400+ libraries. You just have to start emailing companies and asking if they need your style of music. It will take a while, but you should definitely do the work.
I think he is thought-provoking, but sometimes tries too hard.
The music licensing business is as tough as any business to gain success in. I think that some of the points he brings up may help. But he seems to be on a high horse and tends to look down on songwriters for being green to the business. It takes time, talent, and experience to gain any real traction.
His beef with ASCAP songwriters is sort of unfair. Everyone isn’t going to just switch to BMI or SESAC. No PRO is perfect and most musicians will not make more than a few thousand dollars a year from music royalties. Protesting, blogging, tweeting, and getting angry rarely changes things.
All in all, I find him entertaining. I come to places like MLR to learn. I tune into Fauxmusicsupe for a laugh. He is like a Stephen Colbert of the music licensing world.
Jay has opened up a new way of looking at my music. I am going to examine my catalog and see if I can stretch my catalog to support SFX.
It is a full-time job, and then some . Be prepared to work 10+ hours, per day, 5 or more days per week.
If you approach producing library music in anything less than a businesslike manner, you’re going to have a tough time.
Wait a flippin’ minute. You mean to tell me that I will have to work as hard or even harder at making music than I would at a day job?
All of this time, I thought I could write a handful of cues, upload them and make $10,000 licensing fees and $20,000 in backend royalties.
You have let me down, sir. My dreams have been crushed!
(heavy dose of sarcasm here :-))