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@Mikevan, you have to take calculated risks in order to improve.
No risk = No reward.
Art, please move the Tunesat discussion to another thread. Didn’t mean to hijack the conversation.
[Moved to here: https://musiclibraryreport.com/forums/topic/moved-reply-to-tunesat-questions/%5D
Slightly related question: What is the value of Tunesat if it cannot be used to recover royalties? Other than an ego boost, I never understood why a composer would pay money for a service like this. For most, it does not seem beneficial.
How would getting paid twice be a bad thing?
Stay non-exclusive, Jay. You seem to be doing well.
I have switched to exclusive with a library. None of my exclusive stuff has shown up on cue sheets yet. My non-exclusive catalog continues to get placements. I think it will be another six months or more before I see any action from the exclusive portion of my catalog.
Patience is the key.
I go with the floor being $250.
I say $250. Assuming a 50/50 split, the composer gets $125.
I have not received a ton of sync fees, but all of them were at least $250, since I got a minimum of $125.
Great info! I thought that commercials usually paid backend royalties. It looks like a lot of people are missing out on money.
For most people, myself included, volume is the only way to make decent money. Some are fortunate to make decent money with only a few songs. But most of the successful people I have encountered have released hundreds of songs to make decent money from their music.
“If your focus is on whether you only uploaded 650 tracks to a rf library this week, well then you are setting yourself up as a cheap mini mart for music, a soulless, passionless uninspired cobbled together turgid midi fest.”
That was worth the price of admission! Hilarious!
Whatever makes you successful is what you should pursue.
I guess that I would probably fit the “beatmaker” label. I am fairly comfortable with that. I know that I will never be able to command a $1,000 upfront fee from Megatrax or other high profile libraries. But I do make money from my music by placing my songs with libraries that are a good fit.
I think that by knowing where I stand, I have avoided a great deal of angst and frustration. I am not particularly motivated to become a classically trained performer and do music full time. It would be nice for me to have more time to dedicate to music, but I have so many other things going on in my life. For now, music is a rewarding hobby. I get to make all kinds of cool noises and get paid for my work.
Ownership, exclusivity, sync fees, etc are pretty much a major deterent from doing more with my talent. I enjoy making a steady income from my day job. I could not imagine relying on a quarterly royalty check and the occasional sync fee to support myself.
If anyone wants to go full time into music, they have to make the appropriate investments and lifestyle adjustments into pursuing that career. For everyone else, I do not see the need for worry. 🙂
@Mr. Composer, that is amazing! May I ask how long you have been creating music and long did it take you to make a living from your music. Feel free to share examples of your work. I am always interested in learning from seasoned professionals.
I do not think a system solely run by composers would work. There is always a need for good technical people to run the site and good business people to handle accounting and financial aspects.
Also, there would need to be a legal team to assist with contracts and language. These things seem minor, but they are just a part of business in a modern society.
I do not have a problem working with libraries, because they have teams to handle all of those aspects. The problem is when libraries mismanage things and try to take excess compensation for their services.
It makes more sense for me to just work with reputable libraries and compose more music. Forget the companies that are unfair or predatory.
@Advice, composers are no more greedy than music publishers or production companies. I would even say that composers are less greedy simply because many newer composers do not all of the deals possible to make money.
I know that some people think composers are naive or even foolish for signing certain types of deals. But most composers are trying to make money the best way that they can. It is easy to belittle the composer for being taken advantage of. Blaming the victim is an easy way to not deal with a problem.