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#tag, I think I see what you’re getting at. There will most definitely be a certain group of composers who will paste together cues in assembly-line fashion. Whether that will prove profitable is another question, because there will be little reason to buy their music instead of other composers, who do that same thing. Certainly that music will be good enough for some buyers, not all.
On the other hand, samples, by that I mean individual instrument sounds, are an industry standard. I’ve been using samples for 25 years, starting with the original emulator. The quality of sample instruments today is, for me, a dream come true. It would be difficult to find even a major feature film today that doesn’t involve samples on some level (even if it’s just in the mock-up stage)
As far as low back end and small sync fees go, that’s the nature of the business. It requires a composer to be efficient and prolific. You need hundreds, maybe thousands of cues. It’s a long term prospect.
In 2011 I composed the theme for a TV show on the Outdoor Channel. The show aired 3x per week for 52 weeks. My music was used for the intro and was about 1:45 of background music. I made ZERO from ASCAP b/c they didn’t “survey” that show that year. Despite my efforts of collecting and submitting cue sheets, and emailing several people….
….why I switched from ASCAP to BMI.
Not sure what you mean #tag by “sound libraries” …..samples vs live musicians, or loops vs. samples?
The danger in “assembling” tracks vs. composing is that you are one step closer to being no different than the next guy…no matter the quality.
Composing with samples, on the other hand, gives one a very broad palette, and it’s not too hard to carve out a unique sound.
If you’re thinking that RF libraries are the only place where sound libraries and loops get used go here and search the genre Dance /Electronica
http://www.dewolfemusic.co.uk/musicsearch
OK…I have to make an addendum to my answer. Art removed a portion of the answer, I assume because I named companies by name, and it looked like an endorsement. I understand completely.
However, the way it reads now, it may look like I am recommending established exclusive libraries over royalty free libraries, in general. That is not the case.
I’ve been through the worst case scenario. I have several hundred tracks that were in a small exclusive library, that have changed hands a few times, for which I will never see another penny.
The advantage of high-end exclusives is access to high-end placements. That’s great IF you write and produce high-end cues. The bar is pretty high. There is, however, no particular advantage to being “exclusive” if the library isn’t well connected.
If you write “functional” music, that works well for a variety of clients, I like the RF model. I like the RF model because you retain control of your catalog. You’re not doing desperation deals and selling the cow for a handful of beans. You’re building something of value…your catalog.
Whether you put your tracks into exclusive libraries or RF libraries, I think that in most cases established companies, with a track record, are the safer bet.
(Although, I don’t see any undue risk with putting tracks into new RF libraries, if you retain ownership, other than the time you spend uploading and tagging.)
_Michael
The lawyers’ answer….it depends.
A lot will depend on what is in the contract. A well written contract should contain a clause that spells out what happens if either party is not able to perform its side of the bargain.
A lot also depends on what is meant by exclusive. If you’ve entered into a exclusive “representation” agreement, but have not transferred ownership of the copyright, I would argue that you are free to move on, and put your tracks elsewhere, something like a reversion clause.
If, on the other hand, you have transferred ownership of the copyright, you are somewhat SOL, because it’s no longer your property. Moreover, the copyrights that the defunct library owns would be counted as part of its assets and could be liquidated to satisfy its liabilities. In other words, your tracks could be sold to pay the company’s debts.
The worst case scenario under that circumstance is that, absent a contractual clause spelling out continued obligation to you in the event of a sale, the new “owner” of your tracks may not owe you anything.
In best case scenario you have an opportunity…foot in the door…with the new company.
My personal, not legal, advice: if you’re going to sign tracks exclusively be very selective about the companies. I know that’s hard to grasp, when most writers are falling over themselves to get into libraries, but you really need to be careful. Get a lawyer to read the contract.
DO YOUR HOMEWORK…check the company out. See who has skin in the game. There are plenty of established and reputable exclusive libraries, like Megatrax, DeWolfe, KPM, etc. And then, there are the companies who know that they can take advantage of desperate composers.
WIth respect to Royalty Free libraries, most have no ownership interest in your music. If they go out of business, they’re out of business. Hopefully, your tracks are in other libraries.
There are two RF situations in which things could / would be more complicated: 1) you sign exclusively, 2) you assign your publishing to the RF company.
Again, it’s all going to depend upon what is in the contract. Who is the publisher of your music, if the company goes under?
RF companies pop up like mushrooms, and they fade away just as quickly. Personally, I would stick with the established companies.[Removed by moderator].
Be prolific and don’t be precious!
Cheers,
Michael
@Mark. It never ceases to amaze me!
BMI fumbled the ball a bit on my transition from ASCAP. They didn’t transfer the titles in time for today’s distribution. I’ve been promised a special distribution between now and March to catch things up. They also owe some royalties for Q1 2012 for a cue that was mis-titled on the cue sheet by the producer. Never a dull moment!
Grammer and language differences aside, there really are cultural differences when it comes to things like negotiation.
In some cultures being aggressive, argumentative and belligerent may actually be considered a virtue.
Oh wait…that describes practicing law. 😆
Excellent advice…Advice.
I think professionalism is simply no longer word in many people’s vocabulary. It died along with civility. People confuse aggression, with being aggressive.
But…keep in mind that we are in a global enterprise, and cultural differences, may come into play, as well.
_Michael
1) The OS drives on both of my Macs are backed up to 1.5 TB internal SATA drives with Time Machine
2) I have two external 1 TB drives that I backup all of my work files and instrument files to in duplicate. (i.e., the drives mirror each other). I have two other 1 TB drives for current projects. All four drives are in one ICY DOCK enclosure and connected to the main Mac via a PCIe card.
3) I have two portable 1.5 TB drives that I backup everything to, (including instruments), and those get stored in a safety deposit box at the bank.
4) I have midi files going back 27 years on CD, and audio files going back 15 years on CD and hard drives.
5) I keep copies of the serial numbers of all of my sample libraries.
6) Documents get backed-up to multiple flash drives
7) I use iLok “zero down time.”
I can’t stress the importance of redundant back-up systems enough.
_Michael
@euca, no, I didn’t get the email. Did they say if TV performances are involved?
BMI is already using digital detection on radio
ASCAP will probably give me the old “we don’t survey that”…
One of the top 10 reasons that I switched to BMI.
@wilx2, the CBS Sports placements were actually custom cues that came through an exclusive library that I was a “staff” writer for back in the 90’s. Ah….those were the days! 😆
But I know the range must go much higher than that. Does it ever exceed $100? Perhaps for a super bowl use?
The amount paid depends on 1) the type of broadcast, i.e. major network, cable etc, 2) the time of day, 3) whether or not the performance is a feature, theme or background.
Something like the Super Bowl would have no effect, other than it’s in prime time. About ten years ago I had three cues, about three minutes total in the Golf Digest 50th anniversary show, which was a CBS Sports Spectacular special. I think ASCAP paid about $800 for all three cues. I don’t remember/know if the show was broadcast more than once. I don’t think so.
Michael Nicholas has an excellent pamphlet for sale, that breaks down what things pays. Also you can go to the ASCAP or BMI website and read up on how they calculate royalties.
You don’t make much money from a single broadcast.
Cheers,
Michael
@Mark, that’s good to know. I’ve been discussing the idea of putting our library online, with the producer of the television shows that I write for. Although, it’s great to be a feeder library for seven syndicated shows, I’d like get it wider exposure.
@Nathan and Andrej, there is at least one person I know of that is doing just that. It seems to be by invitation only or recommendation right now, so I’m not sure he wants his name posted. But…what you suggest does exist.
Cheers,
Michael