Forum Replies Created
-
Posts
-
Ownership = $$$$$$$
That’s the bottom line.
re: #1 – I see non-ex music ending up on Network shows frequently. But I think the more important question to ask is : How long will networks even exist as they are today? The music placement world is changing. Having control of your copyrights allows you to change with it. Having your music tied to network shows that play only one time, then go off to streaming to die is not a good profit plan. Having your music placed on some lame reality show that plays 800X’s a quarter on a half dozen cable networks is often more $$. Ultimately, ownership is where the money is. It’s where the future lies IMO. Without it, its a career dead end as times change and you can’t.
re: #2 – the majority of my bread and butter placements have come from non-exclusive opportunities. But these are not the big “on line” libraries. They are small boutique operations who know how to work the system and change as the times do. These are the guys who can adapt quickly – unlike the behemoth AAA libraries that cannot move quickly.
The quarter was strong.
They are all over the map. Hundreds, no, I guess thousands of tracks. I haven’t done a “scientific” study, but the majority of placements for me seem to come mostly from one smaller boutique library.
I guess it must be all over the map then…. Long term, continual money making placements? The best of the smaller boutique libraries that I’m associated with have out-earned the bigger libraries like the ones listed above ten to one.
Welcome to the real world. It’s challenging. incredibly complex, ever changing, crazy, and the pie is getting smaller every day – with the competition growing exponentially. “Top 40 Pop” is for sure one of the top few categories of songs that have the most competition. You’ve got to be incredibly different, and compelling. And yeah, unless you have thousands of songs, it’s going to be a very long haul. 2500 and counting here, and I feel kind of like I’m barely getting into it….. How long will it take you to clear 1000 minimum? That’s a starting place in this market IMO. (Didn’t always used to be that way……). And yeah, those of us with a head start and thousands of placements already earning money have a huge advantage. Best of luck. Think outside the box and never give up. That’s the only answer I can give you. Every path is different. No one wants to hear that, but it’s 100% true.
PS – a vocal song has the “potential” to earn more than an instrumental – with the exception that there are about 500-1000 + instrumental placements for every vocal placement. 🙂
if you need $650 today and they pay quick – maybe that’s a good deal. If you need a career – long term – you just shot yourself in the foot. The music – pretty much any music – is worth more than $650 unless it’s a piece of $#!@.
Back end royalties are dying with streaming. And those unscripted shows will not support you. $650 upfront will not support you, Only a real royalty stream will support you.
Ownership of masters is the ONLY thing that will pay out significantly the future. There. I said it out loud. The dirty little secret. I’ll even say it again……..
Ownership of masters is the ONLY thing that will pay out significantly the future.
I won’t say it again. After all, it IS a secret……
I would add ESPECIALLY if it’s a vocal song. $650 is not enough.
No. Same from my experience. Once the dog learns the trick, it’s hard to make them give it up.
Yes to Art. Especially in the unscripted world, the up front sync fees have dwindled to the point of $0.00 with the show producer wanting a piece (or all) of the publishing as well. if you’re still getting sync’s for these types of shows – ANY syncs – I’d say you’re ahead of the game. This side of the biz is in decline.
IMO – a long-standing career in this biz (if it’s even possible starting out now) relies heavily on personal relationships at the point of publishing. Not with end users. Again IMO, social media is not the place to develop personal publishing relationships. In their office, on the phone, in the studio is how you develop personal relationships in this biz that last.
I mean, I know it’s a brave new world. But those types of business relationships span pretty much all business.
<<thumbsup>> Beatslinger.
New times. New goals. New endeavors. New challenges.
I ain’t dead yet. 🙂 🙂 The traditional music library business might be soon though. LOL
How so Beatslinger? I’m not really even investing my time into pursuing music library placements anymore – other than when the right situation knocks on my door.
I said about 4 years ago if you are trying to compete with modern musics (Trap/EDM/Pop, etc) You are literally trying to stop a volcano from erupting using a toothpick.
At least 95% of my catalog is NOT in those categories, and it’s STILL like trying to stop a volcano with a toothpick. LOL
It’s all about ownership and control.
It’s all about ownership and control.
It’s all about ownership and control.
I can’t possibly overemphasize this enough. music1234 is dead on accurate on this. I have consistently been moving away from taking up front buyouts (even when they are $1000 and more) and moving towards keeping ownership – even when it means less money up front and short term. Long term, ownership – and control – is going to take care of myself, my kids, and probably their kids..
I’m moving “new directions” that I’m not comfortable sharing yet as it’s unproven at this point. But suffice it to say that trying to make old school paradigms work for you in 2021 is not going to happen. For sure not going to happen long term. Placing music in “music libraries” as we have been doing for a few decades is done.
Ownership and NUMBERS is more import than ever. Give it away at your own risk. Think outside the box. Follow the money.
We all know these “under the table”, but not so secret deals go down. Publishers make theirs, the writers get nothing 98% of the time. If it helps, I get paid in the US for these channels from BMI. You’ll have to extrapolate backwards I guess to find who is NOT paying.
These are the networks / Channels from last qtr :
PBS, NBC, ABC, CBS, FOX, A&E, A&E HIS Espanol, AMC, American Heros, Animal Planet, Bravo, Cartoon, CNN Headline, Crime and Invest, Dest America, Disc Espanol, Discovery, FM, Fusion, FXX, Galavision, History, ID Discovery, Military Hist, MSNBC, Natl Geo Explor, Natl Geo Wild, Outdoor Channel, OWN, Oxygen, ReelZ Channel, Science, SHO Next, Smithsonian Ch, Sportsman, Sundance, Telemundo, TLC, Travel, Universo, Vice, World Fishing, Local TV, SuperstationThen on the internet :
Apple Family, Apple Indivi, Apple Student, Apple Trial, Apple Ver Trial, Apple Veriz Bun, Apple Verizon, Apple Winbk, Deezer, Google Play Sub, Napster Premier, Pandora, Pandora Plus, Pandora Premium, Songpop, Soundcloud Plus, Spotify Family, Spotify Free, Spotify Premium, Spotify Student, Tidal, Youtube Free, Youtube Music, Youtube Premium,Amazon VOD, Apple TV Channels VOD, Disney Plus, Fandango Now, HBO Max, Hoopla Digital, Hulu, MSOFT VOD, Netflix, Quibi, UMC, Xumo, Xumo 2015 2020, Youtube VOD,
And then into international stuff which I don’t think you are questioning. Hope that’s helpful. If you make a database spreadsheet, I’d love to see it so that when I get brief’s, I can choose whether or not to write for them. As a matter of fact…something that might be useful is a rating system for the channels : 1 – pays out good, 2 – pays OK, 3 – pays terrible.
-=LAWriter=-