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Thanks for the compliments and the tips–I truly appreciate them. I’m happy to help anyone with advice pertaining to areas of music that I’m familiar with (commercials, film?). I actually received personal help from someone on this site which helped me get tens of thousands I was owed in back royalties. Conversely, I have helped many artists I have worked with find their own voice and produce themselves. Yes, it hurt not getting those paychecks, but they still travel to me for help writing/mixing. It’s not like that information is not out there.

But I am very ignorant regarding music libraries–that’s why I joined up. I recently moved from LA to Phoenix (hometown) to be closer to family (life goes by fast!) and it’s difficult to keep some of those work connections.

I have a lot of music just sitting around and would love to be able to gain revenue from it. And looks can be deceiving! Funny how little money you can make from big projects. Needless to say, it’s always a grind.

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Wow! What a lively discussion I’ve started! Welp, no, I wasn’t expecting anyone to write:

“Here is the cell number to my personal contact at XXX Library. I’ve made $XXX from them. Give them a call.”

I was hoping for something like:

“Well, I’ve had tracks in X Library and Y library, which are similar, and I’ve had better luck with X.”

Honestly, I find it pretty comical that you wrote paragraph upon paragraph telling me how you would never help me! Isn’t just not writing anything simpler 😉 Thanks to all that did suggest some things. I will make that spreadsheet. Sounds like a good idea. Not library specific demos, but here is my site with video demos:

http://alvaromorello.com/

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Thanks. Wrote you back.

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Thanks for the replies.

I didn’t think Mark’s software had the ability to create users/logins.

I’ll check out the wordpress templates Soundspot. Thanks.

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I typically see 3k-7k for indie films. I’ve seen people do a whole film for 1k or even free, sadly. You have to negotiate for the higher end. Definitely be agreeable to lower fees, but say the only way you’re able to do it for that low a fee is to keep ownership.

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Thanks, I gotta say, they are really pretty horrible–at least the people I’ve been dealing with. Basically ignoring, not just me, but NBC/Universal (publishers). Called the LA offices and asked for their legal dept and was told “we don’t have one.” One is not listed online either. Basically had to call the NY offices and just try random people until I got someone in legal affairs. Turned in my documentation months ago and was told it would be forwarded to the VP of legal affairs. Followed up. Heard nothing back.

Even a “you’re never going to get paid these back royalties” would be welcomed. But complete silence is really inexcusable.

I’ll report back with the outcome for sure.

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Thanks. Very frustrating indeed as BMI is supposed to be “on my side.” But the whole royalties system is changing. Whether it’s for the better or worst is still yet to be seen.

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Thanks for the links Art. Not placed through a library. I was hired to write the theme. The short of it is that, when CourtTV turned into TruTV, BMI told me they had no contract with TruTV yet so I would not collect royalties. When I asked how long this could take, they told me up to 10 years. Turned out they had a contract with TruTV the entire time. I have documented meetings/emails/phone calls so I’m hoping BMI settles and I don’t have to get litigious.

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Many use soundminer or source audio for their actual library portal.

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Here ya go:

http://we.tl/ZgOlVm3uPN

More samples on his site of course. He did all the percs for free–well, included in the price. Nicest guy you’ll ever meet.

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Check out John O’Reilly Jr.

http://www.boomcrashdrumtracks.com/

Tell him Al recommended him. I grew up with this kid. He was amazing then and even more so now. Goes above and beyond and often has “sales” where he does a track for $100. I can send you a commercial I did with him on drums if you’d like. Highly recommended.

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I contacted them about auctioning a theme song I wrote. They value it by taking 6 X your last 3 years royalty statements. In my case, this meant they valued it at between 80k – 90k.

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OK, below is a link to a few useful things:
1. A spreadsheet of all the soundminer tags available in v4 Pro. (Keep in mind that in their nomenclature, Categories = Genre).
2. A custom spreadsheet I made to tag soundminer files (Not all tags are present. I only used the ones that were pertinent to me.) Using this is often easier than soundminer.
3. A PDF from soundminer where they discuss different tagging conventions and try get a standard going.

https://www.wetransfer.com/downloads/75ff702ab4629c1710ec5e88bf61d5c420140804213323/e4662f31325af3ff2c07ffb79a69647120140804213323/c9ede1

I hope to have some feedback soon.

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Most agencies work with music houses. Think about it: Would you rather work with 20 individual composers separately, or just one point person from a jingle house that brings you 20+ demos. The way it’s always worked for me:

1. Music House give you notes/video/PDF mock up with driection etc.
2. You compose some demos and submit.*
3. The ad agency chooses a few tracks (hopefully one of yours).
4. You have a conference call with the agency with additional changes.
5. You resubmit your piece with the changes.
6. They play the pieces for the client.
7. Client chooses your track.
8. You sign contract and get paid 60 days later (somewhere between 2k – 10k for original work depending on the size of the campaign, with the music house taking half the budget).

*Sometimes there is a small demo fee of around $300. But often not (we’re so desperate after all aren’t we?).

It’s that easy! 😉

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I’m interested in beta testing this. I can also upload my soundminer spreadsheet I made. Should we just continue to post beta test fixes here?

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