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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.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.
Hi Paul,
I am from the UK too – and a long way South West even from you !
Welcome
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?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.
Well this is all very encouraging. The PRS pays next month and you guys have given me at least some optimism… 🙂
As soon as I have written any exclusive work and the contract is signed I consider it gone. I don’t send it to anyone or sample it or rework it or try to use it in any way. The library will send it where they want to and do with it what they will – I just move on to the next project.
I’m full time – I got my first ever back-end royalty in 2011 – it was £23 and I purchased a frame for the PRS statement with that lofty amount printed on it and a botle of cheap bubbly to celebrate with my wife. The framed statement is still on the wall in my studio. Five years later I quit my job, as my earnings (which are almost entirely all back end) had surpassed my salary. If it all ended tomorrow and I had to go out and get a ”real” job I’d be thankful I had five years doing the thing I love for a living.
I notice Beatstars isn’t listed here – is it somewhere one can make money?
I love Shooting Star – I can definitely hear that being used. Have you tried submitting to any libraries?
Go for it. Spend as much time making music and as little time complaining about how it’s not like it used to be as you can
Busy working – I have twins due this week (!) so trying to get a ton of music finished so I can take some time off.
Welcome @BeatSqueezer – I’m sure you’ll find MLR invaluable.
It doesn’t necessarily have to be either. A lot of UK libraries are back end only. Have you tried asking the library you are referring to or have you found them listed here?