LAwriter

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  • LAwriter
    Participant

    how do I give that ^^^^^ a big thumbs up??


    LAwriter
    Participant

    Yeah, everyone seems to be having “sales” right now. Back to back sales even. One sale ends, and the next is just a week away. Why would anyone buy at “list” price when the sales never end.

    “Good business” seems defined by how many sales you can have, and how much market share you can grab from the other guy. The real, honest to goodness, SMART businessmen know how to work the market. And they are quietly doing just that. Behind the scenes, no sales, no hype, no flashy hoopla. Just solid product, solid marketing, solid customer service. They will survive.

    The VC endeavors? Who knows, but their strategies are definitely on shaky ground. I think your assessment is pretty spot on Music1234

    Oh, and yeah, the price difference between a $15 track and a $50 track is nonexistent for businesses making videos. IMO it’s shortsighted and ignorant to dump prices and try to compete at the bottom. A loosing strategy.

    in reply to: Song Trust #32344

    LAwriter
    Participant

    Meaning, what will these two entities track and pay on that AS, P5 and BMI aren’t doing? And what will SoundExchange find that Songtrust doesn’t and vice versa?

    I know NOTHING about sound trust,,,,but sound exchange pays out on “on line” performances…well, I guess you call them performances – from satellite radio and internet radio. NO STREAMING. Including spotify, youtube, and the like. Nothing that is “ON DEMAND”. Only “pre-programmed” sources. Like internet radio. I’ve got thousands of songs out in traditional and non traditional libraries, and none of them have seemed to cross over into sound exchange territory. Zip.


    LAwriter
    Participant

    YOUTUBE (Google) should be paying all the PRO’s $1 Billion each so we can truly be paid fairly from the PROs when our music streams on line.

    That’s a big assumption that the PRO’s would distribute fairly…. I can only imagine what BMI would do with a billion.

    in reply to: Subscription Models Must be Destroyed! #32226

    LAwriter
    Participant

    The train couldn’t get out of the station if composers weren’t naive or uninformed. NO composer, even those just starting out would agree to terms of $0.17 a license if they KNEW what was happening. I don’t see any bullet trains in the future. I think they are going to fold up and die.

    in reply to: A cautionary tale #32190

    LAwriter
    Participant

    Just wondering….is that 1k original tracks (not including alts, stems and edits)? Thanks…

    Hey Lincoman – no problem – you’re welcome!

    Yes, 1k actual individual songs. Not counting alts, cutdowns, stems, etc.. So it might easily be 6000-10,000 discrete pieces of music. Maybe more. (Or less)

    That comment was awhile back though. I’ve revised my number to 2k now. By the time I get closer to retiring, that might push upwards of 3k – who knows. The market is softening with streaming coming to the forefront.

    in reply to: A cautionary tale #32115

    LAwriter
    Participant

    I have looked all over to find where this is true. Can you point me to this?

    That’s my personal experience – that’s all I can point to.. I’m not touting it as an industry-wide “truth”. For me, the traditionally defined “A team” (PMA A Teamers, International conglomerates, etc.) are dropping the ball, hell….they can’t even FIND the ball half the time. And it’s being picked up and rallied by smaller companies that you wouldn’t think of giving the time of day to under normal circumstances. It’s all upside down from my perspective. And I’m living it, not just commenting from the sidelines….

    YMMV.

    in reply to: A cautionary tale #32096

    LAwriter
    Participant

    “Top Tier” is all a matter of perception.

    Agreed 100%. What has traditionally been considered “top tiered” is slipping. Dropping the ball. Loosing marketshare. In many cases, they are more aggressive about stomping down the little guys than they are about aggressively pursuing decent paying situations for their business.

    Times are a changing….. Wish I could have made NAB, but things are too busy in the home camp.


    LAwriter
    Participant

    Meanwhile hundreds of thousands of dollars go unclaimed because of this stupidity and reckless approach to licensing music into TV spot campaigns.

    Which is EXACTLY how the PRO’s like it. Money to move around to their pet projects (composers / publishers) or wherever they see fit.

    in reply to: A cautionary tale #32024

    LAwriter
    Participant

    I agree with all the above, but especially with this :

    If you truly love making music, there are far better ways to make music and much easier ways to make money.


    LAwriter
    Participant

    You do not have permission to view this content.

    in reply to: A cautionary tale #32019

    LAwriter
    Participant

    PS – if you think you’ve figured things out, WATCH OUT!! As b1nrybl0ke poignantly pointed out, things DO, and always WILL change up and throw you a curve ball. Those who survive will be the ones who are quick on their feet. Those who can tell the future, act on it before it happens, and who have the stamina and guts to make crazy mid-course changes in their approach. Been doing it 25+ years and every time I think I have finally nailed it – I’ve been proven wrong. Many, many times.

    in reply to: A cautionary tale #32018

    LAwriter
    Participant

    Cheers for reading!

    Cheers for sharing and for your transparency and candor!! Keep the faith brother….

    So, do you think the main income source for the average composer nowadays is performance royalties or sync fees? I’ve been reading everywhere that PROs are paying less and less.

    IMO, there is no doubt that things are moving, shifting, morphing. They always were since I started into this in the early 90’s, but now, especially so. At this point, sync’s have gone from 2% of my gross to maybe 25-30%. And honestly, I haven’t pushed too hard into it. I’m in several top A level PMA libraries that pay out no sync’s (front end buyouts) that are supposed to bring in huge backend, but many (most???) of them have dropped the ball quite frankly. The little guys, specialty shops, small fish are making things happen. Ownership of content is becoming quite important to me, and it takes a very attractive situation to get me to give that up in 2019.

    I think library income these days is only a part of the puzzle; at least for the large percentage of writers. It needs to be augmented with other sources.

    ??? That may be the future if things don’t shape up. For me, all my money comes from either writing or investments I’ve made with money from writing. I’m still making it easily, but that’s come from decades of contacts, hard work, incessant writing, and quite frankly — luck.

    from your experience, what would be your sound advice for those whose willing to stick it out the next 10-15 years?

    Pray…. And no, I wasn’t joking….. 🙂

    But, now I realize more and more there really is no formula, let alone any sense in how to structure your personal success story. Just so I can be transparent. I made a lot of really strong moves since being on The MLR. But where most have said they had good luck/fortune in RF sites. To date, I literally am STILL under a $1,000. in sales..

    Of course….makes sense. Makes no sense. 🙂 LOL There are many paths to the destination / goal. We all get there in a different fashion. Here’s just hoping we all get there.

    This is a very, very, very, VERY long game.

    I’ve added a couple more “very’s” Art. 🙂

    The amount of time required, the investment required, the level of talent that’s necessary, the number of songs needed ( IMO, the number has doubled from 1k to 2k for a comfortable living) – it’s all gone up and is exponentially bonkers. Our art is being devalued faster than we can crank it out.

    Best of luck for all bold enough to even contemplate the journey….

    in reply to: Reality check — How much can you earn? #31990

    LAwriter
    Participant

    I’m curious to know where you are today and how things are looking.

    I didn’t post in 2016, but I will make a comment. WOW how things have changed in less than 3 years!!!! If it was only so easy now…. The numbers it takes to make it, the amount of work needed to get a track competitive in today’s market and the amount it takes to live / survive…..these have all gone up exponentially from my perspective.

    And yet…..somehow I still keep making it. And I still keep pursuing it. I think I need psychological help. 🙂

    in reply to: How Much Time Do You Generally Spend on 1 Track? #31678

    LAwriter
    Participant

    MichaelL – Haha!! I meant that in a good way, and hope it wasn’t offensive. I guess I could have put “litigate”. Or maybe put Drivers drive. 🙂 Cheers,

Viewing 15 posts - 1 through 15 (of 303 total)