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It would seem that any library offering gratis deals could end up losing as much money as composers
Agreed. I think the gratis upfront for backend royalty models stand to lose a lot money. I think the biggest threat is Swedish company ES. They pay a few hundred dollars upfront for the buyout of tracks and offer royalty free blanket deals to broadcasters and have moved to the U.S. This sounds great at first, to make some upfront money for a track that may or may not place, but if this becomes the norm I would imagine the upfront fees will get smaller and smaller in an effort by companies like this to save money. We as composers/producers should do everything we can to get laws passed that make it illegal for broadcasters and streaming services to bypass P.R.O. payments.
One way might be to create an online portfolio, research independent game developers, contact them and tell them what you do, then ask if you can send them a link to your portfolio. You can post to Reddits’ game developer forum and showcase your work there. I just did a quick google search and found some companies that license music for video games. I’m sure there are many ways to approach selling music for games.
I had 4 or 5 new placements on this one. It was my biggest check yet. International royalties were up, had one Network placement that made the check bigger. I’m happy.
I could see the first one being used on a kind of quirky or strange docu-series. Like the Dark Tourist or something similar. It’s kind of upbeat but dark at the same time.
I’ve only done Film Music Network three or four times. One of those was just recently. No luck with them so far but I imagine it just takes time, persistence, submitting to the right job at the right time with the right piece of music.
Best one yet for me, mostly because of international royalties. Some new shows and better payouts on some of the older ones.
I had a Hardcore Pawn usage in August 2013 I didn’t begin getting payments until sometime in 2015.
Interesting article. Thanks for sharing.
+1
I know that’s a multi-faceted question but how much time do you find to compose if you are uploading, describing and tagging songs all day?
I use PTO days from work here and there to catch up on my musical stuff.
I sent a couple of cues to a library about 2 weeks ago, one was accepted and it was registered within a couple of days, it was only one song though. Might have been slower if it was more.
No note or email here either.
For anyone else familiar with this am I explaining it correctly? Feel free to chime in…
I’ve had those if the cue wasn’t registered from the library yet. I really wish BMI would come up with a way of viewing cue sheets on the site.
When you do the subscription do they give you access to all of the packages or do you have to pay for each separately?
Cool, thanks for the link.