[Composer Of Notes]

I’m with NRG and did get a nice payment in 4 figures.

[Composer Of Notes]

Hi Matt; Had a quick listen. really nice stuff! I suggest that if you are approaching libraries, you need to cut down the intros to like nothing. I t wouldn’t be hard to remix and edit the songs just for that purpose. If you’re looking to get on TV or commercials, you have to get right to the point, and the people screening don’t have 8 bars of time to waste! Of course you can also have your artist versions with the intros as well. And the suggestion to make instrumental versions is good too.

[Composer Of Notes]

Yes, it sounds like signed away the sync rights. I don’t think it’s a bad deal. You got $500 which is more than a lot of library music pays. It depends on how much it cost you to record the song, but I’d happy to sell library music for $500 a pop. Please tell us who is buying out tracks like that!

[Composer Of Notes]

You don’t need to take down the song. Do a direct license with the guy for like $3000. Explain that it is non-exclusive. If he’s “in love” with song then he’ll agree.

[Composer Of Notes]

Dude! Just looked at my cue sheets. I was talking about new shows!
So I got like 15 new episodes! I ain’t so bad after all!

[Composer Of Notes]

Nice! I must be sucking wind then. Did get a nice sync fee from CBS though.

[Composer Of Notes]

Thanks Beatslinger.
Either way Mike.

[Composer Of Notes]

So, who are these majors?

[Composer Of Notes]

Thanks everybody! On Opus 104 it’s a string quartet using EW Gold close and stage mics mixed. I also have a version where I do use a larger chamber ensemble as well.

[Composer Of Notes]

yES, i RECEIVED THE EMAIL from https://www.onchainmusic.com/
It looks like it’s for artists, not libraries. I may do it with my cd music.

[Composer Of Notes]

I always send them my non-ex stuff. One TV placement in 10 years. But that’s better than zero.

[Composer Of Notes]

Perhaps in Europe it might make sense. In the USA they get around PROs by not paying them. Having dealt with European PROs, my impression was they were very on top of making sure composers and publishers get paid. Not to talk badly of ASCAP, but just look at the whole Scrips fiasco. Play in EU, get paid. USA, no pay.
So the buyer might be European or even Asia or AFrica. The PROs have more control there so composers are either in or out. The point is, the buyer is likely not in the USA because in the USA you can use music without paying a perpetual or full license and PRO doesn’t matter because the buyer is not responsible for any performance royalty.

[Composer Of Notes]

It’s probably not necessary, but if you’re allowed to upload that much, then you should. I mean only if it doesn’t cost more. I thought it was by the track, so putting up alts would cost too much, most would upload more works.

[Composer Of Notes]

They are not required to do so. However they are required to pay you as to your contract.
So the answer is NO.
That doesn’t mean that they won’t contact you because some libraries do. Most don’t. I don’t work in the trailer end (ha-ha..trailer end) but I don’t expect libraries to contact me on each placement. It would be too cumbersome for them.
You’re might be new to the biz so as long as you have your rights covered then just keep keepin’ on. HTH

cOn

[Composer Of Notes]

OK. Thanks. I am wondering if you think there is any danger in allowing them access to my catalog and royalty receipts so they can valuate my catalog? Not that Im gonna sell it, but it might interesting to know.

[Author]

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