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Yep, it doubled all my numbers, cue sheets and episodes. It has been acting up for me since they updated a few weeks ago.
The library gets a piece of music that is not available to anyone else. The client knows the music is available to other shows etc. but they also know that the library is the only one with the track.
It’s like when Gibson makes a custom guitar that is only available to Guitar Center. Guitar Center has something special to sell that no one else does, but anyone who goes there can buy it.
A one off custom by Gibson is going to be much more expensive.
Like Art said exclusive to one client is something different.
You will make more money having that track available to any client who wants it. If it were only available to one show etc. your income would basically be once and done.
@michaelL, quality! I know the composer you are speaking of and have noticed over the years that he has stayed in the top sellers list.
His work not only has quality but I believe most of it is also timeless, accessible, and has a long shelf life.
@More Advice, That is a nice payout from your foreign royalties. But I have to say it is a bad example. Ascap royalties from the Netherlands pays out once a year, so the $2500 you received from that country is over the course of a year.( If I remember correctly you are with Ascap) So it comes out to $208 per month. I have and still do make $208 a month from my top 3 tracks in RF. So it basically balances out.
Don’t take this the wrong way, I strongly believe in PRO income and it is much larger than my RF income. I actually prefer working in the PRO model. I am just pointing out that it isn’t the best example.
Beyond that, congrats on the nice foreign payment!
Thanks for the info. Greg. How does it work with other sample libraries? Just curious how well it would work with Lass or a similar string sample library.
All my info from the April payout is also gone. Maybe when they did the update there was a glitch or something.
This is just my opinion but I wouldn’t waste time or money on a manager in the library end of things.
I also come from the band/performance end and we had a manager and someone pitching our stuff but when I started doing production music I never even thought about it.
I guess if you start scoring major films or want to then an agent would be needed but for now I don’t think you need one.
I think this may have been covered in an older post at one point and the general consensus was leaning toward no manager.
Just speaking from my experience ymmv.
BTW, congrats on the Crucial acceptance, they are a tough nut to crack!!
@more advice. Are you sure you want to retire them yourself? I only ask because the 4 cues that JP retired from my NE catalog sell very well on a few RF sites.
I can see why they did not work in the JP catalog but they do well for RF. Maybe you want to try those cues elsewhere for awhile before you retire them.
Just sayin, one libraries retirement is another libraries early learning. (insert smiley face here)
@theone. Nice!! Was your cue an instrumental or vocal?
No, it just said they are expanding their use of digital detection and it would include some commercials and promos.
@michael N. Did you get the email from ascap about how they have started using new digital detection? We shall see how that pans out!!
As far as RF sites go, I have a quirky ukulele piece that has done very well. Guitar rock has dominated for me on the broadcast end as well.
The ukulele cue also made it onto a Steve Jobs documentary, I was really happy about that.
Can’t wait to see this!! Hey Art, the “Bigfoot” album cover is pretty trippy! Looks like some dirty feet on that cove also!! I’d love to hear it. Looks like it’s fetching some decent money in the used vinyl market.