[johnnyboy]

Funny, I’ve had cue sheets turned in five years after the show airs. And networks like Telemundo are only monitor several hours during a quarter. If your music doesn’t show up on their radar, you won’t get paid. I had around 200 Telemundo shows that didn’t show up, and I wasn’t paid. I complained to ASCAP, but that’s just how it is – even though all the cue sheets were filled out properly and received by ASCAP. Yes, it’s not fair, but these smaller networks only have so much money available. If it was spread out fairly, it would only amount to peanuts. So, I reckon it’s better for a few composers to get a decent amount – but still not fair.

[johnnyboy]

Those Crucial links don’t work. “Jazz at the Speakeasy” sounds cool. They have about a dozen of my lounge piano tracks.

[johnnyboy]

Interesting Mike!

[johnnyboy]

I’ll take your word for it Mike. But, all the drum loops I’ve heard, sound perfectly set to grid. But I haven’t heard them all.

[johnnyboy]

The good thing about Crucial Music Taylor, is they’re all good placements. No reality show crap.

[johnnyboy]

I believe all drum loops are quantized Taylor. When I said better, I was referring to #2 & 3. #3 is quite good. Between a real drummer and drum loops… a great drummer is better, but drum loops are better than a mediocre drummer. You’ll only be able to submit 3 tracks at a time. No more till the reviewing process is through. It may take two months before you hear back from them. Then another month before any accepted tracks show-up in their library. Hope you find success at Crucial.

[johnnyboy]

#3 is the better of them. Crucial is big on authenticity. Real instruments and loop-free. Although that’s only my experience with them. Sounds a bit quantized. If you use any real players, they won’t accept music union players. Crucial always gets upfront licensing, no gratis jobs. Good placements. Good luck!

[johnnyboy]

Yep, mine is back to the proper count too.

[johnnyboy]

Yeah, hangs for me as well Michael. Maybe they’re making corrections. We’ll be short even more tomorrow. Ha, ha.

[johnnyboy]

Well, if nothing else, my post provoked you guys to bare your musical souls. LOL

Best, the Hobbyist Composer

[johnnyboy]

“But when I work on library music I have to think about selling the track, not satisfying my ego or artistic needs… It has to serve a purpose…” – Mike

I like to think both can be accomplished. A lot has to do with finding your niche. Something you do better than others. Of course, then the library may pigeonhole you. Anyway, you sound like you’ve got your hear together – ha, ha. Best

[johnnyboy]

Yes, it’s a trade-off Mike. Musicians/ composers have always needed to wear many hats. Teaching, playing, selling CD’s, or even a job at the local grocery store.

I’m thinking of the track creators that knock-off a hundred tracks in one day. Then flood music libraries with thousands of mediocre tracks. Thus, creating a situation for cheap music. Thank goodness some libraries limit the number of submissions now. I read where one guy was complaining, he had a couple thousand tracks and the library would only let him submit a few at a time. He said, it will take years to load my tracks into that library.

So, here’s my priorities:

1. Compose the best, most thought-out music I’m able to do (even if it takes two days to achieve one track). Took me two weeks of full-time daily work composing a sonata.

2. Interested in where my music was placed and how it was used. More important is whether it could be heard well and the duration.

3. And last, how much money my music is making.

[johnnyboy]

Not ridiculous Art. I see the question angers you. You and I are from another generation. Many younger music creators are more focused on making money. No, making money isn’t a bad thing, but if that’s the top priority, it will definitely affect the music. It becomes merely a product and not art, Art.

[johnnyboy]

You get paid licensing from your publisher. Nothing new. You should receive at least half of what your publisher is charging the client to license your track. Unless they do gratis licensing only. Which means you’ll only get paid by your PRO.

[johnnyboy]

Most the times they’re behind. Hell, I still get cue sheets from shows that aired back in 2018 and the payments are 6-9 months behind that. Do any of you get upfront licensing for these Netflix shows? You should. I have on Gotham, Quantico, and West World.

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