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Hi Kenny,
Not many answers to your question, because it is a difficult question!
I would suggest you sit down for a while, browse libraries and listen to the music they feature or promote. That will give you an idea of the style for each.
Then you list the libraries that fit your style and submit to those.
Good luck!
Fun post, although I kind of like some of the Black Eyed Peas stuff 😉
Hi Peter,
I am fairly new to this biz with little experience, however based on the info I gathered up to now and the excellent comments of the other participants, I would definitely go for it. 28K pays me a full year of life, and in a full year I can create way more than 18 tracks! If I were you I would:
_ Check the company is legit and try to find out more about them before responding.
_ If they are ready to give you 28K, it means they really want the songs. So you should have place to negotiate. I would do like Kiwi and go for the 100% writer’s share. They probably have major placements in mind. In my opinion, it is bound to generate some kind of back end on the long run so higher the writer’s share, happier will your bank account be in the future. I would also request being credited if your tracks land on TV or Cinema for your own “shining” in the bizz.I join DI in congratulating you! Well done!
So Cute :-),
Although I wonder what’s the relationship with BudWeiser Beer haha!
Funny marketers: At the moment you have this feel good feeling at the end, pop! Budweiser appears!
For me, libraries and composers should be on the same boat. We are partners trying to reach a same goal and then we share the cake.
There is hard work involved for both parties. For the library, a part of this work is to screen and select what they want in their catalog. And it is my firm belief that it’s not the responsibility of the composer to pay for the reviewer.
Let me explain why: I also sometimes “shop” for libraries, and make a careful selection in order to optimize my time. Only a few get selected. How would they feel if I asked them to pay me for checking them out? lol! Well this has the same effect on me. If there is pay-to-submit system in place, the library or publisher gets immediately disqualified: If they need money from elsewhere to pay for their review process, that means they are not good enough publishers for me…
You do not have permission to view this content.Only very recently did I turn pro, i.e. full time. About 15 years ago, I became a researcher in physical-chemistry, in academia for 5 years , then 10 years in a private industry. Not from a fortunate family, I had to wait for my first 2 salaries to purchase my first 8 track at 27 yrs (Fostex DMT8 souvenirs souvenirs !), although I had been playing music in bands for many years already.
Since I haven’t stopped playing / producing / learning music as a hobbyist and perfecting the craft. Last year it was time for the big jump… It´s been 5 months that I left that job and that I am finally pursuing my musical dream.
Current impression of the biz: quite a vast, exciting and complex world !
No, you will be taxed on what you receive not on what the customer pays for the licence.
For a sale of 100 US$, you will receive 35$ on which you will be taxed 30%, that is 10.5$. In the end you get: 24.5$, i.e. 24.5%.
65% for the library is a pretty rough deal for the composer… I think I have come across this one when investigating libraries: that number just made me zap it without further consideration.
That’s an interesting question. I’d love to hear also the opinion of experienced guys about this.
If I were you, I would also copyright your edits, as you are not only protecting the song but the arrangement work you provide when you create edits
I copyright through France-Copyright (Berne convention on international copyright), by sending a zip file with all documents I wish to place under copyright. The zip file can be up to 128MB, well enough to place all edits of a same song in mp3 format and some extra files like lyrics, detailed content description, and scores etc… (be aware though that Photos and Films are not covered the Berne convention)
+1
Wishing you all also a Merry Christmas full of warm feelings and much inspiration for the New Year!
I just don’t think that writing and up-loading and writing and up-loading is the quickest way to achieve your goals (for the majority) and I never said there is only one way to get there
New to the biz, and reading a lot (including forums like this one on MLR) I am realizing there are other models. I acknowledge that putting all eggs in the same basket is probably not the best or fastest way, however, when starting (= the first couple of years), wouldn’t working to be successful in libraries, and reaching that goal, allow new doors to open?
Example: a Music Sup purchases a licence from a new composer for a low budget spot via a library, finds the track super and investigates about this new composer. One day lands on his desk a high budget project that could fit the composer’s style. So he thinks about him and contacts him directly. Is this fantasy ?