[Desire_Inspires]

The truth is that most composers are completely delusional over the what kind of profits the average library has.

Thank you.

[Desire_Inspires]

As far as I can tell the PMA is there, at least in part, as a protector of the industry and a steward of fair and sustainable business practices. Seeing such an organization tacitly approving a questionable business practice while simultaneously trying to play the watchdog role undermines their credibility in my eyes, at least to some extent. The motivations of the individuals engaging in the practice becomes immaterial to me within that context.

I think I know what company you guys are talking about. The owner of that company is very successful and probably has a lot of leverage in the industry. The music used by that company is the core of the reality TV soundtrack.

I am not surprised that practices such as taking a part of the writer’s share are overlooked. Standards are one thing but money is another. That company probably makes a lot of money for the composers that are fortunate enough to get in.

It’s all business in the end.

[Desire_Inspires]

It only takes 1 piece of music that you publish and $500 to join. There are nearly 700 PMA member companies. Some are quite small.

Really? I could become a PMA member based on that criteria. I need to visit the site for more info.

[Desire_Inspires]

One specific writer/library owner has gotten several BMI awards too related to having “composed” many many tracks which irritates me insanely.

Curious, is this library a primary member or an associate member?

[Desire_Inspires]

That unfortunately is the reality. Although it seems that when I shed a little light on reality it’s unpopular. I’m just the messenger.

You aren’t the bad guy.

I called a few of those libraries and received similar responses. I can’t quite fly out to Cali to rub elbows with people right now. Maybe I will have to attend one of those seminars one day.

[Desire_Inspires]

How much does an audit typically cost?

[Desire_Inspires]

@DI: Help Yo Selfie; nicely done! 🙂

Thank you!

[Desire_Inspires]

I would suggest that you listen to a few libraries to see if your music would fit into what they have. After that, give a call to the libraries and try to develop a relationship with someone. Maybe they do not have any current opportunities. But they could relay listings to you based on what information you previously discussed.

[Desire_Inspires]

I personally dislike when libraries have composer names listed publicly in an open to all platform. It makes it harder to negotiate fees for high end projects ex producing a record or scoring high end projects, when they can google your name and a some old comedy cue pops up in a stock music store with prices listed. Especially if they are used to working with music that is produced like real records and not familiar with library music.

I never heard of that being a barrier to entry.

Wouldn’t a company be better off judging you by what you submit to them instead of some old music placed somewhere else. Music libraries seem busy enough just going over demos from composers. I would not imagine most of them doing Google searches to exclude composers.

[Desire_Inspires]

Here is a link to my Soundcloud page: https://soundcloud.com/desire_inspires

[Desire_Inspires]

I don’t have an opinion either way. Remember, this is a rhetorical question.

On that note, please share your thoughts without attacking me!

[Desire_Inspires]

Bump

[Desire_Inspires]

Yes. A phone call is probably best for situations like this. Sometimes emails get overlooked.

[Desire_Inspires]

Have you contacted the publisher by email or by phone?

[Desire_Inspires]

Shouldn’t you be satisfied when you’ve reached a level of “not that good” that will get you placements on cable TV, and call it a day?

I thought once I got “good enough”, I would be content. But I still feel something is missing.

I am working on moving into the “good” category. I have heard the good stuff and I am not there yet.

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