[Kenny]

Well, it depends. The pro in my home country is pretty strict on this, so I chose to go with a pro in a nearby country instead. This pro lets me do these kind of deals as long as the music is reported to the pro as library music.

You will simply have to read through the agrement with your pro, but they may very well be right.

[Kenny]

Bump

[Kenny]

@Dave

I’m sure it can pay more but a lot of live players would also highly increase the costs of a track. In some libraries I’m sure it is worth it but I also know quite a few where this is not the case, so this will also depend on which libraries one is working with.

[Kenny]

Many responses have talked about using tracks that people have spent a long time on for NE, and those that take a day or so for EX.

@ Brian

My response in this debate was referring to the lower end exclusives that doesnt pay upfront fees. When I say lower end, that means compared to the library mentioned above. I am not with them but I believe they do pay up front fees. And one should be pretty good to produce music good enough for this library in one day. At least that`s a bit above my skills…

[Kenny]

This is absolutely one of the best threads I`ve read on this site. Lots of experiences and good opinions on different models.

My thoughts is that I would consider going for exclusive no upfront libraries, but only under certain circumstances. First of all I would need to see a good placement record from the library. Then I would only consider doing this with tracks I spend no more than one day or so producing. I don`t do any big orchestral stuff, so making decent pop/rock instrumentals in one day is absolutely doable.
But the most important thing is that I would never ever do this if the library is not willing to discuss a reversion clause in the contract, so that I could get unused tracks back after some years and feed them to non exclusives or RF`s.

Not saying that I would pull all unused tracks after a few years, but I would definitely like to have the option to do so.

[Kenny]

Hey Richard. I really think you should listen to the more experienced guys here, and stop sending out tracks this way. I very much doubt you`ll ever see some success with it.

If you are worried about your tracks not being used, then I would suggest getting a reversion clause with an income threshold is a much better way to do it. Some libraries will accept it, and some won’t, but it`s certainly not seen upon as unprofessional to ask for it.

[Kenny]

Thanks a lot Art!
Being not native english speaking, these contracts can be a bit hard to understand sometimes.

[Kenny]

We all have our whishes Mark, but pseudonyms can in some situations be a very smart way to run a business. I do it myself and it has nothing to do with being proud of my music or not, and is absolutely not about being able to sell the same tracks dirt cheap. It is simply all about branding and not wantig to mix up different sides of the music business.

[Kenny]

Cue sheets are probably not automatically transfered, but I think your royalties will be. I’m with another European pro, and they don’t see any cue sheets from US as far as I know. US royalties are collected by BMI or ASCAP and automatically sent to my PRO.

Keep in mind that the Atlantic ocean is pretty big and can take forever to cross 😉

[Kenny]

I use the brand new Toontrack EZedit plugin. Just type in how many secs I want the edit to be, and the software takes care everything for me 😉

[Kenny]

Still looking for any good reasons to upgrade, but I havent found any yet.
The drummer thing is not important as I’ve already got a few good options for drum programing.
Happy with Logic 9 here, and I’ll probably stay for a while 😉

[Kenny]

Maybe I’m missing something here, but I can’t really spot the big wow!!
What do you guys think is the best reason to upgrade from LP 9 to X ?

[Kenny]

Glad to hear it`s working out for some of you. But I`m still hesitating about upgrading.

Michelle and JD: Which versions of Logic and ML are you using?

 

I’ve been told by several composers (who like me, use a lot of virtual instruments) to not move beyond Snow Leopard for Logic. Too many bugs and apparently it runs a lot smoother / faster in SL.

This is what I`ve heard to, and there also seems to be some graphic issues with the Mouse and Keyboard latency. This might work out fine in ML since I`ve got the latest AppStore updated Logic version, but nobody really knows where the problem is as far as I understand. I would really love to stay on SL, but I`m facing the need of a new computer pretty soon, and there is no way to run SL on the new Macs. Pretty ironic that the safest upgrade might be a Hackintosh 😉

 

Maybe you should hold off an upgrade until the new Mac Pros come out (allegedly next month) and the fabled ‘Logic X’!

Thanx for the tip Mark. I did not know there was a new Mac Pro coming so soon. But it will probably be overkill for me anyway, as the new Minis has become so powerful.

Regarding Logic X, I don`t waste any time waiting. Who knows when or if it will come out. I`m pretty satisfied with Logic 9. I just want a new and faster computer with an OS that can run Logic as smooth as my 6 year old Mac.

 

 

[Kenny]

Have to agree on Wildman there. I have some tracks with a couple of the new “low end” libraries. They seem pretty cool, have great looking websites and offers pretty easy uploading for composers. Not too much extra work so I keep feeding them now and then, but none of them seem to have as good sales as the established sites that has been around for a while. A few years too late to win this party a think.

[Kenny]

To be  honest, I dont see how anybody can make decent money on such a service. In my case I got pretty good routines and workflow for the uploading and tagging process, so it doesnt actually take that long anymore. The price I would be willing to pay for each track, will probably not be enough for others to make a good business out of it.

[Author]

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