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Exactly Art. Musicians never turned down a gig because “I only play Trap music”…. We TOOK THE GIG – no matter what style. I also think music in grade school through high school really shined a light on a lot of various musical styles and opportunities.
@MichaelL – can you point those of us not so informed as you to an article that shows how Blockchain might affect the production music markets? Many thanks.Special niches won’t pay you six figures, but they will give you longevity that having 1000 hip hop tracks won’t.
I’m in no way as diversified as I’d like to be, but I keep getting called for a variety of things, so I keep filling those holes.
I enjoy a wide variety of music from orchestral to EDM to americana to jazz to world musics to rock to pop to string quartets, to ambient to celtic to solo piano to…on and on. I guess it was the era I grew up in that pushed me so many directions.
And yes, having a film scoring background FORCES you to be able to write like a chameleon.
Well, that’s one approach certainly. ^^^ And obviously working out for you. My approach is decidedly different. I’m reticent to sign any exclusive contract at this point in time – even with the top tier Libraries, and I have music in many of them.
I’m working on one CD that will be placed in a top tier library later this summer, then I will be back to keeping my copyrights. I have found they make me less money than keeping my copyright myself. Maybe I write the wrong kind of music for them – even though they were eager and willing to pay me a LOT of money for the music I provided.
???
Whatever….one thing is certain, things are changing radically over past strategies.
I did it! I quit my day job and started making a full time living with Rehegoo !!!! Wooo Hoooo!! All this since 9pm this evening!!! ? ? ?
Are you making 6 figures yet?
Chuck – the “good news” is that I wouldn’t really consider that “orchestral” music. It has orchestral elements, but the approach and sounds are more pushed towards electronic than orchestral. If you want to write that kind of music, get yourself a few good synths, some great percussion libraries (not drums, percussion), a good string pad – and just follow your instincts. Good to go.
The “bad news” is – as Michael described – a lifelong pursuit if you are trying to write true orchestral musics.
The tunnel started 10-20 years ago. Not to mention that it’s a pretty long tunnel… Haha!
<wonder if this post will actually show up….. ??? All my others went to cyberspace…..>
Whoohoooo!! It actually posted. Maybe snide, worthless comments are the way to go! 🙂
I’ve also observed that someone who got it 5-10 years ago with a given library may have way different results than someone first getting in that library now
Completely. You can actually strike may and substitute WILL. (I know you were being polite “Advice”)
Some might say that the chances of success were great 5-10 years ago (talent aside) for those just jumping in, but that for those starting out in 2018, the chances are looking pretty dismal.
Not sure who “some” might be though….. 🙂
Most exclusive deals say:
“Publisher hereby agrees to pay to Licensor, Fifty percent (50%) of the amount of any one-time license use fee (a “Single-Use License Fee”) received by Publisher with respect to any single-use license granted by Publisher for the use of a Master in connection with a motion picture, commercial advertisement broadcast on television , internet, or any other media (ring tones, apps, games, etc) .”
Actually Music1234, that’s not my exclusive deal agreement. All my exclusive deals were buyouts up front by PMA libs. They can do whatever they want with my music and I have virtually no say in things.
Yes – NO MONEY is better than 96 cents in this situation.
I couldn’t agree more. There is no way I’m going there voluntarily. I will pull out and go on food stamps or hang out a cardboard sign on a street corner first : “Professional musician. Decimated by downloads. Struggling with streaming. Skewered by Subscriptions. Will write for food.”
Here’s something that I have been looking into. These may help with some aspects of the complexity of royalties. https://www.songtrust.com/
Thanks for this Art – I will investigate further….. Do you have any experience with these types of services or others of the same ilk? Seems like they are more focused towards traditional artist / publishers…..
If I am watching TV and hear my music on a TV spot I will certainly reach out to the publisher / library to make sure they are aware that the spot is running and ask/confirm if they placed it. At this point in my career, almost all of my music is NE or E deals have expired allowing me to try other markets for my music.
My exclusive deals are all with big PMA libraries, and they are (in my experience) ON IT in terms of filing cue sheets, etc.. The one big private NE library that is the majority of my BMI statement is on it as well. It’s how they make their money and they have a couple of people that are full time on that aspect alone….
I honestly don’t expect much back end from the typical NE / RF libraries.
I have never done any admin work as discussed above other than registering my songs with BMI. To be honest, I wouldn’t know where to start. Most of the libraries I work for do this for me. It’s their money too….