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I wouldn’t go jumping off any bridges. As I said, who knows IF, and when, streaming might replace broadcast and cable.
As long as there’s money to be made from broadcast and cable, streaming will be another option…for people who want it.
Demographics play a big part in this. Younger people, who were born attached to mobile devices, will be the primary market for streaming. Older people may be less inclined. There may be differences between urban users and rural users.
Other factors come into play. In the US, the government tries to make sure that everyone has access. For example, when over-the-air broadcast went digital, set-top converters were made available cheaply (or free) for folks who don’t have digital TV’s or cable.
Remember too, that the PROs have a huge stake in this, they along with PMA libraries are fighting to keep per performance royalty levels up.
In a best case scenario, streaming royalties become icing on the cake, a new revenue “stream” so to speak. In a worst case scenario, the paradigm is turned upside down and broadcast royalties become the icing on the cake. In either case, don’t look for an overnight shift.
You also need to keep in mind that library music, in many cases, is not a forever thing. Your cues, as I often say, have a best-when-used-by date. Unless you write fairly ageless cues, there’s sort of a bell curve to the lifespan of most tracks. As such, what you’re writing today stands a good chance of reaching the end of its useful life, by the time (if and when) streaming replaces broadcast/cable.
How might this effect composers? If it takes more and more cues to earn the same amount of money, or less, it is possible that part-time composers will find it harder to justify the time and expense necessary to continue.
As with any industry /job, you need to look past today, and plan for the future. Simply worrying about it won’t help.
_MichaelL
+1 Art.
@Ron and Wildman, yes TJ’s work is remarkable, AND there are tons of composers who do amazing mock-ups…Mike Verta, Alex Temple, Alex Pfeffer, Mark Petrie…
In another vein, Guy Bacos does great demos of the VSL library.
http://guybacos.com/audio/Strolling%20Joyfully%20on%20a%20Snowy%20Day.mp3
A good big band brass section used to be a weak link, but then came Sample Modeling…
http://www.sample-modeling.com/Demos/Orchestral/Printemps_(Samplemodeling_BigBand).mp3
If music lacks emotion, it is because the composer didn’t put it there, not because he/she used midi instruments. Moreover, the best use of midi involves performance not just programming and or cutting /pasting notes together. If emotion is missing, blame the performer (or non performer).
If music is unconvincing, it is because the performer/producer/composer most likely doesn’t know how to write and/or orchestrate for real instruments in the first place, and thus cannot translate that knowledge into effective use of midi instruments.
Too much evidence to the contrary and too much great work from so many talented composers using midi to support such a broad statement.
_MichaelL
Under the heading of “congratulations guys, you have royally screwed yourselves”…
This subject was discussed at the PMA meeting that I attended in 2011. The “rate court” or entity that sets the going rate that the PROS must pay is looking at basing online streaming rates on what broadcasters pay in sync fees. Anybody spot the problem????
Right…if you all participate in gratis licensing in the hope of getting backend money, there will eventually be little or no backend money, because there are no sync fees being paid. Performances will likely be similar to Spotify, Pandora or radio performances…pennies, not dollars, per play.
By participating in gratis licensing you are killing the goose to some degree. If and/or when streaming will completely replace broadcast is up for debate.
Still waiting…… for 2nd Q 2012 and some of 1st Q 2012 from BMI. They’ve promised a catch-up payment before the next distribution. Switching from ASCAP to BMI is a PITA!!!!!! But, will hopefully be worth it (in my situation).
Ozone is definitely not an “out-of-the box” plug. I don’t think you’ll get good results if you don’t have the opportunity to work with it for a while. There are a number of good tutorials on how to make the most of each component.
So far, I’ve been happy with what Ozone does. But this thread has my curious about alternatives. I’ll probably end up using a combination of tools. Always tweaking the toolkit.
_MichaelL
@ Mark, in addition to eventually working with ML/PIR, your package is something that I’d be interested in after we get settled in our new location, and start to roll out my catalog over the next 3 or 4 years. Please keep me posted.
All the best,
MichaelL
Without the agressive tone of some of the posts I see here… When people talk about a-kissing, not bowing down, not being taken advantage of, etc, a red flag goes up for me as far as the professionalism of that composer. Too much attitude for my taste.
+1…once again good, mature, advice from Advice.
@ producer composer, I have known, dealt with, and met a lot of library owners, particularly of the exclusive variety. They are all pretty much regular human beings, who have never been rude to me, or required any a-kissing or bowing down. To the contrary they have all been complete professionals who have shown interest in my work, and nothing but the respect that you seem to find lacking.
Well written, well produced, functional music in the proper format, along with a professional attitude can open doors and move mountains. I am speaking of exclusive libraries, that pay up front, where it is possible to develop relationships. In the cattle-call market of non-exclusives, where relationships are nearly non-existent, all bets are off.
_MichaelL
I give TV producers, that already I work with, my catalog on a hard drive. Sometimes they call with a special request from my catalog, that may not be on the hard drive. which I send immediately via yousendit.(or something similar)
If you’re talking about non-broadcast local producers that you already work with, try to set up a “subscription” agreement. You could give them your catalog on a hard drive, or host it in a download situation.
I spend a lot of time(purely for research purposes !!!) in a pub in London
😆 the other Michael.
Cheers
MichaelL
I’m curious about the next big thing already. Now that things got rather tonal than melodic and the tempo dropped so drastically, what could the next step be? =)
@ Ulla…I’m going with bagpipe dubstep….calling it kiltex or tartanex.
@Mark….yes, great track. Here’s the full video, with a bit more development.
Love the sound design. Greta FX and subtle synth on the chase “rabbit.”
http://www.vevo.com/watch/swedish-house-mafia/greyhound/GB1201200034
And from my bartender days……a greyhound is vodka and grapefruit juice. 😉
Good to follow the trends, so I`m off to make some dubstep ukulelesongs
😆 …..EPIC dubstep ukelele songs!
FUSE TV is notorious for not filing cue sheets. I HATE IT. I am c constantly hearing my songs on thier program. Anybody else going through this?
In another thread you asked about cue sheets for The Guy Code (I think).
Sorry to say Bigg, you’re talking about programming for a generation that thinks file sharing isn’t stealing. Good luck getting cue sheet respect.
@AB…I’m not so offended by Barbie’s post , with the exception that I wouldn’t want to be the composer. There’s probably a few dozen desperate writers pouring through their hard drives right now looking for ukelele samples to do similar cues.