[Frankensteiner]

Thanks again to everyone who has contributed to this discussion.
I can get something out of all your thoughts.

Despite all the concerns and the not really euphoric future prognoses I have decided to go this way,
let’s see where it will lead me.

Besides writing the music, I see the bigger problem in choosing the right libraries, or being accepted at all by one of the more sophisticated libraries.

Let’s see, the first requests have been sent.
cheers
Frank

[Frankensteiner]

Okay LAwriter, thanks again for your honest words and your patience.
And excuse me if I asked some naive questions.
Yes, it’s a shame how the music in general is getting more and more sold out.
Everybody loves it and needs it, but it is less and less rewarded that there is a lot of work behind it if you want to produce something really good.
Well, I guess I’ll keep going as long as I can.

There will probably be many more questions during my research and I hope to continue to find such nice people here who are willing to help so friendly.

Thank You

[Frankensteiner]

Hi guys,

first of all thank you all for taking the time to answer me.
I appreciate it very much.

@LAwriter, I am honored and encouraged that someone who is obviously a professional
in this business rates my stuff like this.
Even though I have to say that I always have serious doubts about my abilities when I see what a lot of much younger colleagues have for a huge musical output and on what musical level they move.
It makes me really dizzy, but I still try not to get discouraged.

I’ve got close to 2500 titles in libraries now, and honestly, it’s not enough to let me feel “comfortable”.
I can only hope that this also includes tracks that were done in about 1-3 hours 🙂

I will probably just have to get started.
I love to write great sounding orchestral works, but I will certainly not write more than two of them a week, at least not if each one is to be independent and meaningful.

Of course it’s different with light pop songs or something like that. Or just a drone 😉

A buddy who makes a good living told me that if I couldn’t finish 3 tunes a day, I was a hack – and too slow to make it.

Can you give me some examples of the tracks we are talking about? Well, specifically with links to the examples in a library. That seems so incredible. Since it’s hard to describe what kind and quality of the tracks are he’s talking about, concrete examples would help me to see if this is possible for me.

Besides, if I interpret the statements of the people here in the forum correctly, it doesn’t matter if I create a big orchestral piece of work, where I sit for 3 days, or if I do a track in 2 hours. Provided that both sound professional. I probably won’t earn more money with the more elaborate work, if at all 😉
I wonder where the orchestral stuff is used at all. Maybe documentaries or something like that?

Or do I have to think differently. Should I offer the more elaborate orchestral stuff only to special libraries, or even exclusively?

What exactly does exclusive mean at all?
If I offer my material exclusively to one library, it means that I cannot offer it to any other library, right?.
Does that automatically mean that this library may also only sell the material exclusively to one customer?
Or may this library sell the license for those tracks to different customers several times.
Or exist there one and the other case?
How can I find out from the huge amount of libraries what a library mainly stands for, i.e. what it mainly acquires. Trailer music? Music for advertising? Who does the library mainly license to?

Am I right in assuming that soundtracks are not taken from libraries for feature films that are shown in the cinema or on television, because they are composed explicitly for them?

I have great respect for composers who write exactly on the image. I am told again and again that my music sounds like film music, but I am aware that writing music that creates images in the mind is something completely different than writing music that fits, or rather supports, existing images.
That’s why the idea to write music that comes to my mind and that at best arouses emotions for me sounds very sympathetic. The only question that remains is how to earn money with it 🙂

One tune can make 6 figures, and a thousand may only make $50 in their lifetime. It’s completely random, and your best stuff will often sit unused, while things you would have thrown away make money over and over and over again

If all this is really just coincidence, then the idea to write as much as possible within a short time seems to me to make sense. It’s as if I fill out as many lottery tickets as possible to increase my chances of winning.
Or should I rather play the lottery right away?

Okay, you realize I have a lot of questions.

I’m curious if anyone actually takes the time to answer them.

I would be very grateful for that 🙂

Greetings Frank

[Author]

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