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It’s WAY too expensive and I can guarantee you this guy won’t be able to tell you anything you can’t find here or on YouTube.
When I started out I made a promise to myself that I would never hand over any money in exchange for some self proclaimed ‘industry expert’ to listen to my music, critique me, give me advice and direction or a ‘hack’ or ‘the insider secrets’ or whatever else they promise they can do. I never handed over a penny and I advise you to adopt the same rule for yourself. Spend your money on some great VST’s or hardware instead.
I thank my library people a lot – if I see a nice lump sum or a group of placements or they tell me they are pitching my work I say thanks and keep up the great work and thank you for representing the music so well. I sometimes even thank them on behalf of any other composers who may forget or not even think to say thanks. I make a living from creating music and I am very grateful to the people who ensure my compositions are out there getting placed and generating income for myself and my family.
@Orca I’m also a PRS member from the UK and most of my income comes from the US. I do get paid via the PRS but maybe it’s worth me switching? Do you need US tax details like a TIN etc before BMI will pay you? I’ve tried jumping through the hoops set out by the IRS previously and it was a bit of an ordeal
I signed up with a company called NRG:
They are based in Europe and seem to be doing a decent job – I’ve had a couple of biannual statements and it’s starting to build quite nicely. They take a one time fee out of your first payment for the set up then they take 20% thereafter. In my initial conversations with them they said you can usually expect your yearly NR earnings to be between 10-15% of whatever your regular PRO income is, so definitely worth doing.January 8, 2022 at 5:37 am in reply to: China Bans Most Exclusive Copyright Deals for Digital Music Platforms #39351
I wonder if any kind of RF market will finally take off there? Its one hell of a potential customer base if they decide they are actually going to start paying for their music !January 6, 2022 at 1:28 am in reply to: Year-End Income Breakdown. Feel free to share yours! #39328
I had my best year yet – enough to support myself, my wife and our two children. So if you’re starting to believe there’s no money in the game any more think again !
Hey louschmidt – this question gets asked quite often but I’m afraid you’ll find that many professional musicians who are getting paid upfront money are not likely to broadcast the information!
If you have a look at the ‘Access Music Libraries’ link at the top of the page you’ll see upfront money is one of the categories on each library listing.September 22, 2021 at 4:27 am in reply to: Is anyone making any money from stock music anymore? #38943
I’m not making any money from the old stock music sites on which I used to make a decent amount. I reckon the subscription sites have killed them.
I am from the UK too – and a long way South West even from you !
WelcomeJuly 2, 2021 at 7:13 am in reply to: Today’s State of the Exclusive vs Non-exclusive Debate #38254
LAwriter – well that last example is shocking! What kind of business doesn’t want to collect the revenue it is generating!? It sounds like this company is one we should all steer clear of – regardless of the exclusive vs non-exclusive debate.
Would you consider providing that information under the listing here of the library/publisher itself (if they are still in operation) so that other composers don’t end up wasting time writing music for which they will not be paid?July 1, 2021 at 5:45 am in reply to: Today’s State of the Exclusive vs Non-exclusive Debate #38244
It’s possible to make a living through music which is signed to exclusive deals. I have created exclusive music for libraries whom I trust and who have proven track records, and for publishers that I have built good relationships with who work hard to get the music placed and generating revenue. I understand those composers who don’t want to give up their ownership – and with intellectual property it can almost feel like giving away our musical babies – but at the same time not everybody is trying to rip you off or exploit you.
I uploaded some old non-exclusive stuff with one Chinese library as they were paying money upfront out of potential future earnings. As I remember it depended how many tracks I had available but they paid me a lump sum of $590.00. That was a couple of years ago and I’ve had a few sales but not enough to bring me back to zero. My balance as of today is $-154.15.
The way I saw it at the time (and still do) is if it really takes off over there then the market potential is huge. The average composer cut per download looks to be around $35 which isn’t too bad in today’s RF world.
”If all the full time pro’s are complaining….that’s something I personally want to pay attention to”
We’re not all complaining.