[Dreamuse]

I think you bring up a good point about saturation, Chris, for music that is “static”–you can’t change it. However, I’ve seen several AI demonstrations where one is able to enter musical changes into a timeline. Imagine a video editor getting their hands on this–it’s like getting someone to score to your picture without paying the fees. Is it here, now? No, but things are moving very, very quickly.

For me, the key is to put as much “humanity” in to my tracks as possible, and make sure they evolve in satisfying ways. Until the AI-helper tools are widespread, it’s all I can think to do.

[Dreamuse]

I wonder if as well they’ll use the data to help create AI music from this pool…which while not guaranteed is “good”, has been done by people serious enough to have released it. So, some basic filter here, and they don’t have to hunt for the data.

[Dreamuse]

I second looking at Trqk, for reasons outside of BMAT’s detection: It’s also a great analysis platform that tidily displays all kind of data on your tracks, such as how much you’ve earned per track in total, where a track’s made the most money (on which show), etc… They also provide a “gap analysis” showing how much you’ve gotten paid vs what you should have gotten from additional unpaid uses, and will (I believe) generate reports with which you can approach the American PRO’s (Pros outside US to follow). It’s still new, but they seem quite responsive.

[Dreamuse]

I’ve had autodeposit with several libraries, but the’ve asked me ahead of time if I wanted check or autodep.

[Dreamuse]

This is part of the reason I try to build as much “humanity” into my tracks as possible. I think AI will do a scarily good job within just a few years for cranking out stuff like you hear under HGTV (and we know how much they care about the composers making the music currently, anyway). I saw a deepfake of Obama next to a real video. I guess wrong which one was real. If there’s money to be made, or not spent by the networks, they’re going to be using this stuff left and right for the lower-end shows, and of course plenty of non-broadcast usage.

[Dreamuse]

And THERE’S the key to this whole discussion–With more and more libraries going either lower level (RF where they’re lot obligating people to fill out cue sheets if stuff hits the air, or subscription-based) or more-and-more exclusive, than YES, it is a matter of the people behind the library, isn’t it? Yes, I want control over my IP–who doesn’t? But seeing as the higher-level non-exclusive opportunities SEEM to be drying up–not that I’m giving up on finding more, mind you, but it’s the trend–it’s indeed a matter of the library itself first and foremost. That I’m sure people on both sides can agree on.

[Dreamuse]

FWIW, I’ve had good experiences in contacting several exclusive libraries with unreported performances, and they’ve been good at chasing things down. It’s not a binary situation.

[Dreamuse]

Fair points all.

I also personally stay away from tracks with shorter lifespans unless there’s a given situation I know it’s going to be used in. Otherwise, I’d rather write more evergreen tracks–both from a business standpoint and personal preference. It resonates with me more.

Also, I’d like to build as much humanity in to the cues as possible, as the more that’s in there, the harder it’s gonna be for AI to mimic.

I’ll bet the HGTV stuff really burns you up, and that alone could make one want to run like hell from Exclusives.

[Dreamuse]

We’re back to the question of what happens with your baby once you get done with it. It FEELS wrong to do it. But, just for the sake of discussion, say the track is of a variety that will have a life of 2 years. Work with me here. Now, will an exclusive do better with that track in terms of placements? We’ve established we don’t know for sure. But, if they did, then your track’s 2 year run in this world may have been better placed with an exclusive. If it’s an evergreen variety, where the more distant future comes into play, than it seems to make more sense to hold on.

I dunno… It’s insane unless the pay is working for you. And apparently, it is working for people, unless they’re a bunch of sheep, beaten into place. I mean there are a lot of talented folks doing it this way.

So there’s that. I think LAWriter’s bringing up diversification holds in this case. I’d like to see–for myself–2 tracks that are of a similar vein and throw one the exclusive route while the other I shop around, of for no other reason than experience. I know some exclusive lib’s have brought some really good money/track for me, while others not so much. The latter of course makes me feel, well, dumb. 🙂 We’ll see about the non-exc’s, and what the actual payments are.

[Dreamuse]

I agree with everything you’ve said here! I suppose I’m trying to figure out what I can push back on, and what the cost of pushing back on it is. That’s been the driver for me is posing this question in the first place.

I think your insistence about being able to pull the work indeed is a sage. I know there are exclusive libraries that have reversions, but I’ve often wondered how that can be done cleanly, or if the now-released music has to be places in non-exclusives in the future due to the possibility that the previous library still has the stuff on their drives, etc…. But back to being able to pull the work: Yes, I’d think this would be especially true for tracks that are more evergreen: Say piano and strings vs. today’s electronic subcategory that will stay current for only a couple of years.

That article was downright scary to read, and YMYF really did something impressive forming so quickly, and in pushing back against Discovery. May these pushbacks happen more–and we take part in them–in the future.

[Dreamuse]

🙂
Just suggesting we’re in the same boat…or in the same streams.

[Dreamuse]

No, I’m not looking for THE path, but rather, value hearing about others paths in this forum. You know– EXPERIENCES, which we can compare and relate while formulating our own attack plans. You say diversify. Um, yea. That’s what I’m looking to do, and hence have tracks in multiple places, both in Exc and Non exc.

But to say it’s impossible to quantify on the one hand while claiming something’s wrong? Hmmm… We get it about ownership, and especially not knowing what the future holds. But these questions from people on different sides of the issue are KEY.

As for the last paragraph: As long as you’re writing for other libraries, you’re a follower, so no need to bloviate about leader/follower stuff.

Finally, I don’t think my attitude while having written music full time for the past 30 years has sunk me, BTW. Getting info from–and sharing info with others has been a vital part of my path, and I’ll gladly share what I’ve learned without feeling the need to be “rough” to others as you put it. Rather, I wish you the same pleasure of exchange of information.

[Dreamuse]

I”m not sure how you feel about working with exclusive libraries.
🙂
Appreciate your bringing this up as you do, 123. What I’m wondering is–as of today–will a given cue make more money over its life in a hopefully healthy, moral exclusive library through higher-profile placements, than putting it with a number of non-exclusive libraries. I understand the moral part, the possible exploitation, etc… As a veteran of the composing/scoring part of the industry, I’m well aware of the potential pitfalls. However, IF this is the prevailing way things are going is a typical composer stuck with lower level of higher-range placement frequencies working with non-exclusive? It seems like conversations like this typically end with “everybody has their own story”–which is frustrating in that it’s not giving hard numbers, but rather, ways people have either made it (or not), and their stances.

In short: YES I want to keep my IP intact. But I also want to make sure I’m not doing it at an ultimate expense, even if some of the tracks may get shelved this way (which I f’ing hate). Just to make sure, however, this isn’t about doing it for a buyout. That’s a separate issue, though I think you’re bringing this up as part of a continuum of erosion of rights?

[Dreamuse]

LAwriter, when you mentioned boutique libraries, I assume they’re actively supplying to editors/supervisors, as opposed to what Michael’s noting with subscription plans? Watching libraries chase each other to the bottom has been especially scary when it comes to these subscription plans.

[Dreamuse]

LAWriter, you bring up several really good points. Yes, I too have seen more money ultimately from cable placements and (many) plays than network, and yes, I’ve wondered –as I realize most of the shows I watch aren’t the big network ones–how long nets will survive. And yes, the bigger the company, the longer it’s gonna take them to change course–and the more infrastructure it has to support to survive.

I have a friend who’s a producer for an exclusive lib. Yesterday, I asked him what he felt the added value was to placing a track with a exclusive vs non-exc. He said that the exc in general has a more invested interest in actively marketing your track, and –again–in general, has more marketing horsepower behind pushing your track. The idea that one’s music can gather dust with no recourse to get it out of there via reversion sucks (assuming that’s the deal), and being a composer, he of course agreed. I just wonder if in general–sees more dollars through the exclusive channel for a given track. That is, before everything goes to hell. 🙂

You mention the majority of your placements have come from Non exc. However, You’ve been pretty solidly in the N/E Camp for a good while, so I’m curious: Roughly what percentage of your work is in non exc vs exc libs? If the majority is in the first, I’d assume you’d see more placements this way. However, it’s heartening to hear you’re showing up in broadcast, as this still–as of today–is a money maker.

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