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Thanks Veeagra, I appricate your insight!
BumpJune 24, 2015 at 11:15 am in reply to: Introducing the Mark Awards to honor the best in production music #22018
And the award for the most retitled cue goes to……..
And the award for composer credited with the most cues written by some else goes to….
And the award for composer complaining loudest about retiling then turning right around and doing it them selves goes to…..
And the award for publisher complaining loudest about composers giving away their music for nothing then turning right around and retitling their own catalog and giving it away for free to every production company in town goes to……
And the award for composer with the most astronomical impossible with out retiling number of PRO registrations assigned to them while still a PMA member an organization supposedly against retiling goes to…..
And the award for Composer with the most undeserving ASCAP/BMI/SESAC award due to the fact that they only wrote 5% of the music that the award was based on goes to……
Just kidding (kinda) 🙂
At least it wasen’t a fadeout ending on thrack ha ha
Actually the guitar solo thing could be that its the out tune bennding that’s the problem and not the Key/Scale
Is this a joke? It’s horribly out of time like a drunken jam with unprofessional musicians. Sorry if this sound harsh but all libraries I know off would be on the floor laughing if u sent them this. Actually it work perfectly if it was meant for a comedic scene! But seriously before u worry about the style you need to learn the fundamentals, make it very simple and make sure it’s 100% in time to start with. Specifically to your track, perhaps start with making the drum beat 100% in time with it self (ex the opeing drum fill sounds very out of time), then make the bass play whole notes or half-notes instead of the out of time syncopated figure and make sure to hit the downbeats at the same time as the drums. ALso sounds like the guitar solo is in the wrong key/scale. I guess this style would be a bit comparable to Primus, listen to their albums, it needs to be as tight as that. Good Luck and also I 2nd what Rob said about the business.
ALso BTW library music are usally instrumental so always make sure to make instrumental mixes too. The music made me feel very zen but vocals need a bit more work.
I’de tune the vocals and edit the timing of them as they or out of time at several spots. Possibly make them more electronic sounding with a vocoder or something. The instrumental track sounds nice but I’m right now listening though laptop speakers so can’t really comment on the mix.
BTW here is a company that provides “pro” feedback on music. http://www.audiokite.com
Just on a side note, If someone would create a little booklet guide, database or something like that with information regarding back end royalties for various networks I would pay $29.95 for that 🙂 Someone with a large history of statements such as a publisher or veteran composers could probably easily create this by using the CSV versions of their statements, importing them into MS Excel and using some formulas and sorting round, figure out appx. per minute rate for different networks, maybe even including exsamples of per minute rates for diffrent times of the day and other variables. Could even include useages such as themes on varouis cables networks etc.
So there you have it, a free business idea plus your first customer, now go do it! 🙂 It could even be for an addition to a book. Acutally if anyone does this they should proabaly give me a free copy 🙂
Thanks so much, you guys rock! Now I’ll gladly give up the publishing share for a higher upfront fee:). Discovering MLR and paying for a lifetime membership is turing out the be one of best investements I’ve ever done in this business!
The only time I would audit is if there was some very good evidence/signs that u were owed some serious $$$$. I was part of an audit once in which a composer felt he was due money. The library had distributed some money from blanket licenses etc. to it’s composers based on how many tracks they had in the library and he was given appx $20-40. I guess his ego told him that that couldn’t be right so he went ahead with an audit. Our accountant had to spend lots of time which was of course was paid for by the library owner. In the end it turned out the Composer’s music hadn’t even been used for anything not even in any blanket license deal so the $20-30 he got was actually “free” money. On top of this he kept calling library staff on their cell phones on Saturdays which meant they weren’t even getting paid for the time they spent talking to him. Needless to say he was dropped off the rooster immediately and I think anyone involved would warn any future companies they might work for about this guy. The library owner probably spent well over $1000 in salaries dealing with this audit plus the salaries he paid his staff to process/pitch and host the composer’s music which never made the library a penny.
The truth is that most composers are completely delusional over the what kind of profits the average library has.
So that’s my experience but I would love to hear an audit success story related to the music library industry. (The Sly story is not related in my opinion.)
there is also one prominent member that’s notorious for taking half the writer’s share.
Yes, there is a several members who takes writer share which is the reason why I have a hard time taking the PMA seriously. OK if the board weren’t aware of this but I know for a fact they are aware of this and still accepted them into the organization. Which to me makes it a lots worse. One specific writer/library owner has gotten several BMI awards too related to having “composed” many many tracks which irritates me insanely.
In order to clean up our industry we got to clean up the organization who is supposed to further our course. Maybe then I’ll consider a membership to support them.
Macent1 is correct. So a specific problem I had when I negotied my fee for producing a album for an Artist was that the manager and rec label found a bunch of prodution music cues online in a online store which made them doubht if I was the right person (because of the genre) for the job and I’d imagine seeing music on sale for $$$ in a stock music store when Im trying to get $$$$$$ is not too impressive. This made me worry about what projects I might miss out on and if I’de ever know about it. Also an agent or library who trying to pitch your music/talent face the same challenge. As we know there are some libraries that don’t want to work with composers that work for NE libraries too. So that why I prefer to wrtie for libraries that have closed systems.
Also yes epecially if u do work for the bigger buy out libraries with high buy-out fees, they will google you.
BTW if it helps to understand my view, I was on staff fulltime by mutiple US based Libraries for 11 years before becoming a freelancer.