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It seems there’s always a new low…
I have the same question as MichaelL: is there a filmmaker that works for
free AND manages to pay their bills?Yeap,this artlist.io site is a joke.
Way to go Frequencee!Your music has the “now” sound,very well deserved.
Not sure if it counts as a single-use but my biggest one so far was on E!.
A placement on an episode of “Keeping Up With The Kardashians” netted me
about $420.
They used both the Full ($240) and Bed ($180) version of my track in that episode.1st BMI check was for 3Q’ 2013 and it was for $309 (i don’t think i’ll ever forget my very first check from music income,haha).
All of the placements were from the same library,same show.10 exclusive tracks.
I inked my first ever contract Jan ’13,got the first tv placements in August of the same year and the first check in March ’14.
So,it took me a bit over a year before i saw any back end royalties.
During 2013 (my 1st year in music library biz) i signed around 100 tracks,most of them with NE libraries.It is a bumpy road,2nd check was 13 times better (i just couldn’t believe it) and the next one half of it.The 4th one was less than the 1st one…yeah,a real roller coaster!
After that,the statements were more consistent and the numbers went up again 🙂Dave,the 200% could be explained if it was a RF sale.But if you are sure it came from a specific library that keeps 100% of publisher’s share,then it should be corrected in a future statement.
Back end and RF numbers were increased this year,sync fees were almost the same.
I’m in the low 5 digits still but better than last year.
3/4 of my income comes from music now.
Some new,promising connections with exclusive libraries were made in the 2nd half of 2016 so,i hope 2017 will be fruitful.
My earnings from music alone more than pays the bills here (Athens,Greece) but in other cities (London,Berlin,etc) it would barely pay the bills (no party!) and in some other countries (Denmark,Sweden) it would barely pay just the rent!Hope everyone here has a great 2017!
Congrats Peter!
I spent like $100 on this site,like 4 years ago.I got 1 deal ($500) but decided to quit anyway.
There’s something fishy about these $5K-20K opportunities;they never posted the winner.Imo,most of these pay-to-play sites don’t worth your time and your money.
They’re mostly designed for the impatient young composer.Try the WeThePeople music library.I found them through a paying service 3 years ago and worked well for me.You can contact them through their email address and see if they’re accepting demos for review.
Pm me at Soundcloud (click on my name here or search for Kubed at soundcloud – i’m the one with the blue stripes logo).
Btw,i’m a fan of your music!We both have tracks in many releases of a certain exclusive library.
@Andrej: i had some sales in a RF site (PT) before i got my ITIN number so,i was taxed 30%.
When i updated my W8BEN form,including my ITIN,and sent it to them,they immediately send me the withheld amount (30%) of these sales.
BUT i didn’t receive the withheld amount of the sales of the previous year (it was just 1 sale though).So,maybe you could get back the withheld taxes of 2016.
Update your W8BEN form asap and check with the libraries if you can get back this 25%.It’s from music libraries and i didn’t include license fees.Just the PRO royalties.
Ah,yes.There’s a free plan where composer keeps 30% of license fees.
I don’t know,i wouldn’t bother to upload my music to this site.Wow,they’re very generous with the splits!
But,wait a minute…they have a $50 inscription fee and charge you another $49/month if you want to upload 51-200 tracks to their platform.
They also say in their site this is a win/win situation.And i agree!
Not only they win $50 from each subscription but also a bucket load of money from the monthly fees!Talk about an enticing,composer friendly deal!
I’m a bit confused.At one point i read “PMA is reaching out” and then “PMA might not see this topic”.
Anyway,what Paolo said is interesting.Having a “music needed” section for the members and an analysis of each library’s terms would be a good start to make the PMA membership more enticing.
Would this be enough to buy the membership?
Personally,i don’t think so and i can’t answer the “What kind of PMA composer membership benefits would you like to see?” question without going off topic.If PMA is reaching out,it looks like they miss the forest for the trees.
Check the contracts you’ve signed or ask directly these “no-PRO” libraries if you can still keep your catalog in their database AS LONG AS you don’t register them to your PRO.
If i’m not wrong,”no-PRO” libraries accept PRO artists as long as they don’t register the tracks signed with them to their PRO.
Still,you have to check with the libraries and see if they allow you to do that.Just out of curiosity,how come you haven’t entered a PRO so far?
I’m making 3-4 times more from my PRO earnings than RF sales (which aren’t bad).
Just wondering if there are any benefits having your music PRO-free.