[LAwriter]

More money for PROS, should mean more money for writers.

More money for PRO’s means more money for their pet projects and fave hipster writers – not for the places where the money should be flowing. but that’s a different topic,,,,,

[LAwriter]

Kind of off topic for my thoughts, but globalization has had profound effects on many, many industries across the globe. There’s no doubts that production music will be affected “negatively” (I suppose that’s in the eye of the beholder though) in some sort of way. You may not be aware, but it’s already been happening for years.

Libraries have taken action to hold value of music. Whether successful or not, they have taken action. For instance, P5 has substantially upped the minimum low-end rates they used to allow because of foreign composers competing on an unlevel playing field – taking down the overall quality of the library and the profitability for all concerned.

For whatever it’s worth….

[LAwriter]

I think we need to be nimble and try to think outside the box.

YES Art! This has always been my philosophy and has served me well too. I think that’s pretty much all we can do. Look to the future and not to the past, thank smart, and stay on our toes….

LA Writer. Just hang in there, Your voice and wisdom are needed.

Ha! Kind words Music1234. Sometimes it seems more like the voice of gloom than wisdom. I hate the way the industry has become these days. Everyone – publishers and writers alike – in lock step marching for the bottom. I love mentoring up coming writers, but it’s hard not to feel disingenuous – giving them advice when you feel a future career is not looking like a true option. I’m sure I’m over-reacting, but I’ve honestly never seen things looking so dismal And we haven’t even been discussing A.I. LOL

Cheers all,

-=LAWriter=-

[LAwriter]

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[LAwriter]

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[LAwriter]

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[LAwriter]

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[LAwriter]

Sweet!

[LAwriter]

See what I did here – https://musiclibraryreport.com/c-to-d/cinephonix/

yup. I see what you did. IMO, semi-helpful, but I read right over it the first time. I actually had to be LOOKING for it. If it was in RED font, bolded and big maybe…. 🙂

If it was my site, and it’s most DECIDEDLY not, I’d emblazon a massive scarlet letter style warning to any library approaching this style model. If proven successful for composers, I’d consider removing it, but leaving a less invasive warning such as the one you have done above….

Then again, I’m probably not a level headed as you Art. Haha!

[LAwriter]

Yes. Young guys should know that IT IS STILL POSSIBLE to make $100k + writing for library music after a few years. BUT, you have to work hard and make wise decisions. (I’m sorry to say that most young guys I meet are not willing or capable of doing either.) We have the control, and I have not seen a subscription model that I would call a “wise decision”. Well, maybe wise for the library owners, but not from a composers perspective.

If these subscription models are allowed to flourish, the only winners are the end users and the libraries. The thought of a lucrative career, or really ANY career in writing production music is gone. Out the window.

Hey, with thousands of placements – many of which are running in syndication – I’ve got enough momentum to carry me through well into retirement, but young guys should not be so chill about where they put their music.

We are the ones who enable these types of opportunistic models to work.

Just say no.

[LAwriter]

Art – perhaps a sticky or sub forum or some place where people can go find libraries doing this and report libraries doing this?

[LAwriter]

Yes! I have not seen any subscription model that is even remotely fair to the composers. They ALL benefit the publisher / library. In addition, it becomes quite difficult to do accounting.

The deal the westar / stockmusic.com / audiohero tried to slide me into (see the other thread) was 0% to composers. 100% to publisher. And they did NOT ask my permission, and they violated my original contract in hopes that I would just say “OK boys – that sounds good”. I was supposed to be happy about the back end possibilities. (which IME were going to be next to nothing)

All the Subscription plans up to this point that I’ve seen are evil. They will kill what little of this business is left. If you sign up willing into one, or if you allow them to “move you over” with their experiments or change to your contract, you are complicit with signing your own death warrant. Be advised.

Thanks Music1234 for sounding the alarms!!!

[LAwriter]

A person who flips houses, or who speculates on custom homes puts a lot of time, energy and money upfront – and then eventually reaps the profits at a later time. No one calls their profits “passive earnings”. There’s nothing “passive” about it.

I don’t see that as any different than what we do. If I put 6 months of my life and large outlay of cash into a project that takes 20 years to fully pay off, I don’t consider that “passive” income. I consider it delayed earnings and a poor business model. LOL

[LAwriter]

LA writer, you and I can always combine forces and undercut everyone with our catlogs. Let’s charge 99 cents a year and shoot for 3 million subscribers! We can split 3 mil a year!

Ha! You figure out a way to make that happen and I’m in. I can bring 10,000 tracks, and probably wrangle a bunch more to join in. LOL

[LAwriter]

If this continues (and grows) I will opt out of writing production music. There will be no upside.

[Author]

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