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After reading a lot on how things work, the Biz model I selected is exactly the one that people moan about… Could you tell me why you think the re-title system is detrimental to the composer.
@ Eduardo, I am not one of those “moaning” about that business model because I do not participate in it. So, it is better to ask them.
Any other reasons only relate to my individual circumstances and would not be relevant to you, or any one else. Suffice it to say, at the moment, I have no incentive to write for re-titling libraries.
Good luck,
Michael@Richard, I know where you’re coming from, and I know that you have the chops to do well.
@BIGG ROME and @The Dude, I’ve been fortunate to have a good career and great relationships in this business. I’m yet to participate in the non-exlcusive re-title model, which I think is at the heart of most people’s gripes here. Yes, it is a model that treats composers as if they are a dime a dozen. So, if you want to have a revolution go right ahead.
We’re talking about different worlds. So, I really can’t comment.
_Michael
Here’s a better example: real estate. When you put a house on the market, and someone wants to buy it, it goes in to a sort-of “provisional” contract state where both parties wait until some other events happen before the contract is actually executed. And it’s obviously an exclusive deal!
Not a great analogy Richard. In the case of a selling a house, you don’t (can’t) accept multiple bids and then say who ever gets a mortgage first is the winner.
If you are talking about traditional upfront exclusive library deals, just submit your collections for sale to several libraries. If you get an offer to buy a collection, accept it and notify the other libraries, that the collection in question now belongs to library X. That is a common, recognized and accepted practice.
What no one here understands is you’re “who ever gets me a placement first is the lucky winner” attitude. The reality is that we’re all just snowflakes in a blizzard. It sounds like you think that the libraries need you, which, no matter how good you, are is a mistake, unless you have a bankable name, like Hans Zimmer.
Try what I’m suggesting. Offer your collections (one at a time) for sale to some upfront exclusive libraries.
Make sure the cues are grouped around a theme, like “Dramatic Music,” “Sports Music” etc. Provide a complete package including, Full version, :60, :30, :15 and an underscore.
Start a conversation by offering your music in this manner.
Do not put a barrier between yourself and the library with attitude. You need them far more than they need you.If you don’t hear back in a few weeks send a polite follow-up, or make a phone call. If several months go by try another polite follow-up. If you hear nothing after a few more weeks, just move on. Send a polite letter, thank them for their time, and advise them that your music is no longer available.
I’m sure you’ll get defensive about my advice. That’s your choice. But, I’ve been doing this for 35 years. I only write for exclusives, or for my own catalog that I market through RF libraries. A friend of mine was a founding PMA member. I know a little bit about what’s on the other side of the curtain.
Good luck,
MichaelBut wait..now that I’ve figured out everything means the opposite down there….”
Boom! Chikka
That makes you twice a good!
@Rob, no worries Mate…you are half as good a composer as I am. 😀
(sorry that was too easy)But wait..now that I’ve figured out everything means the opposite down there….
You are WAY overestimating the importance of YOUR music from the POV of the library.
THE most common Achilles heel among composers. We’re all too used to having friends and family tell us how great we are. And we believe it.
Definitely a Michael L. Category 2 storm here.
LOL…seriously. @Advice, you just made my day (OK…that and Matt Bowdler’s new sound set for Zebra). Thanks. 😀
Michael
When I read the OP I was too dumbfounded to even reply. I think everyone above has said it pretty well.
I’m convinced that there are two reasons composers have a difficult time in this business.
1) Their music isn’t well produced or commerically viable, and /or
2) they do outrageous things to undermine their own career.This approach to marketing would fall into category #2. It would be better for you to wait for a library to accept or reject your collections before picking up your marbles and going home in a huff.
Given the number of fairly professional people making good music these days, composers really can’t afford these pitfalls.
_Michael
This was /is a problem, especially with Big Fish , involving their “construction kits.”
The is no simple legal answer. It’s a contractual and policy matter that will vary from company to company.
The best approach is to do exactly what you did. Contact the company for clarification of its policy, tell them how you are using their product, and ask for permission.
The easiest thing to do…layer another sound on top.
_Michael
Just about every piece of custom music I’ve quoted starts off with “I want something that sounds like this.”
LOL. Michael, if I had a penny for every time I was asked to do something “like” I’d be a rich man. I think it’s because, especially with corporate clients, you are dealing with non-musicians and /or non-creatives, and familiar music is their only frame of reference. And, it resonates with their audience.
As for me, count me out of the sound-a-like stock music game.
+1
But…I think writing in a “style” is OK, vs, knocking off a specific track.
I really don’t like working to temp tracks either. It’s a very uncomfortable situation.
_Michael
You guys have the music business totally backwards
Here’s my last 2 cents:
There is no single right answer. We’re all at different places..different levels, following different business models.
The non-exclsuive re-title model is very different than either the RF model or the traditional work-for-hire exclusive model…different sets of rules, different worlds.
Writers should do the best work that they can, know where they fit in, and not listen to advice the doesn’t apply to them. That can be harmful.
As I just said in another thread, we are like blind men trying to describe an elephant.
http://www.cs.princeton.edu/~rywang/berkeley/258/parable.html
_Michael
At the end of the day, it’s horses for courses.
Love that phrase Rob. There is no single right answer. We are like blind men describing an elephant.
http://www.cs.princeton.edu/~rywang/berkeley/258/parable.html
@gdomeier…60, 30 and 15 edits are for ads. You rarely, if ever, get a cue sheet for a commercial (there’s a convoluted process of proving media buys, etc).
Random times come from editors chopping your music up and using little bits and pieces.
@BIGG ROME. No worries. We all come from different places. Do what works for you.
Maybe I’ll meet you at Mark’s party. Just don’t throw me in the pool! 😀
I recently ‘fired’ a composer who was basically uploading karaoke versions of really famous and current hits, intact melodies and everything, minus vocals.
Unbelievable that someone would do something so stupid, yet somehow not surprising.
I’m old so am not familiar with current hit songs but my assistant brought it to my attention.
Ouch! I might as well buy that rocking chair now. 😀
@ Mark. Sounds like a great place. And I thought that you can’t make money from RF libraries! At least that’s what they
say here. 😉