[johnfrancis]

Bump

[johnfrancis]

That’s the central problem for us, if there is any accountability it is arbitrary and library specific. There doesn’t seem to be any standard and as such – much like the calamities of big tech – is operating in a moral and practical Wild West. Aside from giving your licenses away for free for accreditation, there isn’t a better vehicle for “the race to the bottom” presently than the subscription model libraries for the composer. It’s a win-lose situation.

[johnfrancis]

I’ve learned a lot reading this thread. Thanks.
My method is one track per a day/two days. Then at the end of my batch of say, 8-10 tracks/cues, then I revisit each one, listen critically and make changes of things I couldn’t hear before. Then I’ll send the batch.

Sometimes if I’m tracking live instruments I’ll combine the recording a few tracks’ instruments in the same day to reduce the set up, live sound, mic selection time.

I sometimes cannot write music in the morning. My head is too foggy and I’m not feeling anything. Such days it’s better to compose/mix in the afternoon.

[johnfrancis]

thanks for the answers guys!

[johnfrancis]

Hi Art, I’m 5 pages into the thread called Retitling and it seems to be about retitling work that is in exclusive libraries. And then there’s the non-exclusive libraries’ own retitling of work that they can obtain publishing rights for.

Can I simply ask:
Even if the library I use retitles my work elsewhere, is there anything legally wrong with me retitling my own work for other non-exclusive libraries?

Or is there something else I’m missing?

[Author]

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