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Be warned my friend, we “bone heads” are a tight knit group. With one phone call I can see to it that you never get your pizza delivered again. Never, ever, anywhere in the world …
Hence the old joke:
How do you get a trombone player off your porch? Pay him for the pizza!
BTW…I really do love trombone.
Here’s a string freebie:
http://embertone.com/freebies/intstrings-lite.php
Cheers,
Michael
Mark,
Im pretty sure that what I wrote is 99% in agreement with your views, with the exception that I think it’s possible for someone to be a production music composer AND to have a separate and distinct catalog of non-production music for sale elsewhere, with the emphasis being on separate and distinct. If the two catalogs do not overlap, there is nothing for you to work around.
_Michael
At musicloops.com we don’t accept any composers that have their music available for $0.99 elsewhere. To us it means that they are not serious about creating a valuable catalog of production music
Mark…with complete respect to you, I disagree, to a point. It’s not all black and white.
All of the successful composers that I know, at various times, wear different hats to earn a living, including: composing, teaching, performing, scoring etc. When they compose, they compose for all sorts of purposes including: production music, film/video scores, games, commercial releases, industrial theater, etc etc, etc. To say that a composer is not serious about any one of those elements because they do the other is an over generalization.
One of my first professional gigs was composing for the NFL music library around 1978. Since then, I composed hundreds of production music cues for half a dozen exclusive libraries. I also composed 200 cues for a royalty free library 15 years before you started Music Loops. I left my law practice, and invested a lot of money, specifically for the purpose of producing a high quality and valuable production music catalog. I think that qualifies as serious.
But…I have music on CDBaby too. The music in question is from three CDs that were commercially released in the 90’s, when I was a smooth jazz/new age artist (one of the other hats). It was never intended to be production music. Because there is sometimes a place for those genres in the production music world, I put some of my commercially released music into libraries, not the other way around.
I apologize for talking about me way too much, but the point is to illustrate that you cannot assume someone is not a serious composer of production music simply because they put music on CDbaby or iTunes, etc. You could easily turn it around and argue that someone isn’t a serious artist if they license their music through libraries, which would also be an over generalization.
That said, I understand your position. A lot of “artists” who do not compose production music, specifically, try to license their “songs” in as many ways as possible through various libraries, and CDBaby etc. They take the shotgun approach, because every self-help guru tells them that’s what you have to do. There is, however, a distinction between being a professional production music composer and being a songwriter. It is a completely separate skill set, and not everybody gets that. (If I could set up an MLR just for production music composers I would.)
When writers assume that libraries, especially royalty free libraries, should be a dumping ground for anything and everything that they do, without understanding or regard for the specific library’s business model and needs, it is a headache for the library and a problem for the business in general.
I don’t agree with an all-or-nothing generalization that would prevent composers from diversifying their revenue streams. Conversely, I don’t think composers should blindly shotgun their entire catalog. That only leads to problems for both the library and composer.
A professional writer should/would only submit music to a library that meets its criteria. To do otherwise, shows that the writer didn’t do their homework regarding the library’s needs/expectations, and is either oblivious, or doesn’t care, which doesn’t speak well of the writer. Conversely, by eliminating writers because they diversify might, in the long run, deprive a library of representing a valuable catalog.
The balanced approach, as I advocated in previous threads, is for writers to divide their catalog. Put your music where it’s appropriate, and more doors will open. You’ll be regarded as a professional, and libraries, like Music Loops, might not find it necessary to adopt policies that will limit your opportunities.
_Michael
@ Alan..you play trombone? I’m sorry. (I think we’ve been down this road before).
If it hasn’t been mentioned Spitfire has excellent solo strings. LASS has very good first chair strings that can be used as solo strings, with a little work. 8dio also has solo strings.
You might want to read this thread: http://vi-control.net/forum/viewtopic.php?t=27353&highlight=solo+strings&sid=27772f279b2c0131312979f2f28440a5
In the really reasonably priced category: http://www.focusounds.com/instruments.html
For brass that can cut big band jazz, look at Sample Modeling. http://www.samplemodeling.com/en/products.php and Fable Sounds http://www.fablesounds.com/ Sample Modeling can be especially convincing if you use a wind controller.
Happy Shopping!
Cheers,
Michael
My understanding of the CDbaby youtube content ID arrangement is that it is “opt-in”.. After reading about the youtube program on the MLR, I chose to not opt-in, when CDBaby announced their program. I’ll double check.
I have two new age CD’s and a smooth jazz CD in digital distribution through CDBaby. But I also have some of that music in libraries. I wouldn’t want it in the youtube content ID system, for the reasons that you mention. If it is, I’ll have it removed.
With respect to searching for a better deal, that sounds like an instance where the composer should do alternate titles, which is perfectly legit, under US copyright law. (this is not to be confused with re-titling as it is practiced by some libraries).
Michael
@Mark…brilliant. Great analogy.
Michael
@Mark..so if I shorten “We Wish You A Merry Christmas” to “WeWshUaMryChrsms” I’m in?…..Sweet.
Chrs,
MichlL
+ahpynwyr
Hi Alan,
A lot depends on the kind of music that you write. EW is really geared toward a BIG cinematic sound. If that’s what you’re going for EWQLSO is fine, but remember it’s almost 10 years old. If you write more intimate works, I’d perhaps look elsewhere. I have LASS, Symphobia and Cinebrass, and find that I don’t use EWQLSO very much.
I thought about picking up HS and HB while they’re on sale, but I’m Mac based, and have read that HS, in particular, and Play function much better on a PC. Maybe Chris can address this issue.
But, to answer your question, EWQLSO Platinum is in a completely different league than Garritan and your other sound sources.
Cheers,
Michael
Library A&R are busy people, deluged with submissions. To be honest, with a title that long and, seemingly far a field, I’m not sure that I would even listen to the cue, because I would assume that the music is likely to be equally off the mark, which may be a complete disservice to your composition. Don’t shoot yourself in the foot.
I agree with Art. NEVER throw anything away. I’ve got all of my midi files going back to 1985 (easily 2,500). I’ve got cues that were written on paper going back to the 70’s. I even saved cassettes of cues that I’m transcribing with Melodyne.
@Jay…way to go!!! You never know!
I have a few cues that are on pristine vinyl, recorded with all live players, going back to about 1983. I plan to clean them up with Izotope’s RX2, then remaster them with the Oxford Inflator, Ozone 5 and a yet to be determined compressor (probably the Glue). No problem sounding dated. The cues would be considered “period ” pieces. If not, then they are retro.
+++++1
Well said Mark. Great road map!
From what I’ve seen, the best selling genres are upbeat modern pop rock (think Coldplay, U2, Katy Perry), well produced orchestral tension and epic heroic. Lots of other genres sell well too – light acoustic, atmospheric horror, quirky orchestral, techno, jazz – but overall the ones I mentioned seem to be the most successful
But….I would add that some music does have a “best when used ” by date on it. Cues that are based on current trends, like Coldplay, U2 and Katy Perry will have their day in the sun, but five or ten years from now perhaps not so much.
Congratulations Cari! I’m glad that you’ve gotten some encouragement. Persistence pays off.
Cheers,
Michael
I’m with a few different tier libraries but I really do like the RF model as it’s now giving me somewhat of a steady income, I make something every month and I still have total control of everything .
After more than 30 years in this business, I have come to value control of my catalog above all.
One doesn’t have to drive a Rolls Royce or walk on gold bricks to be somebody or to be successful.
Wanting or needing those things is just ego….external validation. Get past that, and you’ve got it all. Get hung up in that, and you will never have enough.
I start my day fairly early. After the morning routine, like walking the dog, I try to be in the studio by 8:00. I start by checking email and the MLR. I also check VI Control to see if there are any new instrument releases. Sometimes that’s followed by a purchase and installation.
I try to start composing by 9:00. I work until lunch time. Sometimes I take a break. Sometimes I eat lunch in my studio, while I’m checking email (and the MLR). Then, I work until around 6:00. I have dinner with my wife, walk the dog again, and around 8:00 go back into the studio until around 11:00.
The 8 pm to 11pm slot varies. Sometimes I’m still composing, recording, mixing etc. Other times I watch software / equipment tutorials, do administrative tasks.
I do work on the weekends, but not as many hours.
And some days……like today, the routine goes out the window and nothing happens, because it’s election day AND some guy backed into my car with his pick-up truck at a stop light! (the two aren’t related)
And thanks to everyone, it’s very nice to be considered one of the top RF libraries by a group of great composers (or is it top-lower-tier libraries?)
@Mark, I wouldn’t even go so far as to call libraries “lower tier,” simply by virtue of being royalty free. If one’s only yardstick is the amount the library charges for sync fees, or the perceived prestige of its placements, then yes, royalty free libraries would be at the lower end of the food chain. But…if you take the long view, look at the big picture and are pragmatic I would argue that is not the case.
Cheers,
Michael