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I I think the price is all over the place depending on what, where and who is doing it. I have paid as low as $50 a song up to $1500 a song for a singer who is more well known and better than everybody else. I think getting everybody to sign a Work for Hire agreement is the way to go for sure. You want to walk away form the session owning the product fully and not have to worry about paying anybody in the future. Especially for Production music. At least that is my feeling. Your situation may be different.
Hello Theo,
I believe you would just write different songs for the Kanglobby CD. You need different parts to your Catalog. Some for the public , your artist side ( Spotify etc) Some for NE Libraries , which could also be on the public outlets, and then some for the exclusives of which you are willing to surrender and trust to somebody. .That’s also why you need a bunch of tunes. Some people here have 1000’s of tunes.I believe at some point they said to opt back in to the Mandate. It was on the AS thread somewhere.
There are several popular libraries here that offer blanket deals to various networks . The client pays a yearly fee I assume , and than they don’t pay additional syncs for the material. They use tons of music and many of us here get the back end only from these placements. ( sometimes they also score a check for us for an ad or something) Is that the same / worse / better than the subscription service you are talking about?
Hey Kandr21400, What CDbaby and the others you mention do is release your music to the public for CD’s, downloading and streaming. The music library/ publishing world is aiming at a different market/ function. You can do both. But I believe some of distribution companies may offer some type of sync arrangement but I would maybe avoid that cause it may conflict with what you might do with libraries. You can opt out of that and just get distribution I believe. The Libraries seek placements in TV, Flim, Advertising etc. Many here have music in both worlds. A lot of music written just for the license world may not be of much use for the cd world, such as tension beds, horror music, Dramedy score, Pounding Action Adventure bed etc. Keep reading and you will fomulate a plan. Of course you’re plan will have to keep changing cause the scene is constantly changing.
Danny, It’s pretty hard to make much money on Spotify. I have had 8099 streams on Spotify earning $40.12. iTunes used to be real good but seems to have dried up for me. Probably cause of Apple Music and Spotify. Streaming seems to have won out and it pays little to us. Of course if you have millions of listeners it might add up.
Yes we are! I check mine every day.
Look under Distribution Schedule, that payout is
Monday, October 3, 2016 Domestic Writers
January, February & March 2016 (1Q16)And yet many in that flood give up pretty quick. At least in publishing time which is like geological time. The stubborn, and I mean real stubborn, keep plugging year after year and hopefully get better, find a few outlets for their music, and build up a great catalog. This is a marathon not a sprint.
Yes I get error notice too.
The same thing applies to the many young Jazz virtuosos being turned out from Berklee, North Texas State, and all the other schools that now offer Jazz Performance Degrees. Something that did not exist in recent memory. These Men and Woman are getting very good younger and younger but there are fewer gigs with more competition then ever. Live music at the working class musician level has really suffered/changed in the modern world. With DJs and countless entertainment choices people have , your old gig paradigm has shifted. I have been gigging full time for over 40 years and it has been a constant adaptation. It is still possible but I don’t see a bright future for all the highly trained and in dept future graduates, although I wish all of us well. Now I got to go look for a gig.
I’ve pretty much decided I just can’t tell what will get picked and what will not. I just try to do my best, and try to do many styles, moods, textures, tempos, era’s, etc. Try to aim for certain shows, and potential usages. But really I don’t know what will be picked. I’m happily surprised every time when something finds it’s way into a show. So I would be hesitant to critique anybody also.
The value of a production music track lies in it’s usefulness to the end client. The music serves the picture as far as TV music goes. A great track, as far as usefulness is concerned can be made in an hour or 14 hours. The time spent producing the track is not that important to the person picking the music. I think conception is one of the most important factors. What does the track do? Does it convey a feeling? Does it fall in a specific type of genre/ style/feel that someone would be looking for? Such as Tension/ Happy/ Sad/ Kitsch/ Specific Era/ World/ 1920’s/ 60’s Rock/ 40’s Jazz etc. This can sometimes be done with one instrument and a 20 second cue. Or it could be done with a complex orchestral cue that takes days to make. I think all is good. Make every kind of track you can think of and make them the best you can whether that takes and hour or a week. Some come out better than the others.