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I wish MLR could have a meet-up sometime. The intelligence level here seems to be generally higher than in other forums. Might be cool to hang out for an evening.
Great idea. Your continent or mine? 😀
I’ll be setting up Skype, when we get settled. (whenever and wherever that may be!)
Great post Art. It should be read by all.
As the article points out, copying a general style is one thing, and knocking off a specific song is another. There’s really no bullet-proof way to knock off a specific song.
The worst case arises when a band or composer has been approached to license a song, they refuse, and the client then hires someone to do a sound-alike. That shows intent, which is virtually a slam-dunk in court. Moreover, it ratchets up the damages significantly.
Composers need to be aware that when they sign a contract with a library, they are stating that they are the composer of, or own the rights to, the music they are selling.
Of course, the attorneys are going to sue the ad agency, its client and the library, as well as the composer, because they have deeper pockets. If joint and several liability applies, the plaintiff can recover from any one defendant.
It’s a tricky road to walk. But if someone ever says to you, “we asked band “X” for their song and they turned us down” …run like the wind.
_Michael
Stand for something. People that think your way change never happens cause of fear. I have no fear in change.
When change comes all the composers who did nothing on the sidelines, will reap the benefits of those that stuck their necks.The problem is that I have no idea what you’re talking about. I don’t understand where all the anger and pseudo-revolutionary talk is coming from. It is possible to do very well in this business, by being good at what you do, being prolific and having some business sense. What’s all the drama about?
Here’s a reality check:
None of us, including me, is irreplaceable. We write music for TV…so what? That doesn’t make us a creative geniuses, or even a rare commodity.
There are 10 composers standing in line behind each of us, who are at least as good as we are, maybe better, waiting for an opportunity.
The fastest way to move to the back of the line in this business is to have a chip-on-your-shoulder attitude, and to be difficult.
Good luck.
_Michael
Guys…take the money and run. Be happy.
+1 to Mark and Guscave.
Is professionalism completely dead???!!!
But, seriously, imagine if every composer called libraries, and their clients, for information about every placement. That would be a huge waste of everyone’s time and resources.
I can tell you, based upon conversations that I’ve had with the producers and editors, that I know, they don’t want to be bothered.
Pestering them can be the kiss of death.I like to write in many genres, otherwise I’d get bored.
I come from a library music background, where I’ve always written on “assignment.” So, if they say, “sports music,” “news music,”
“kitchy sci-fi music,” that’s what I do.I also spent 35 years writing for documentaries, educational films and corporate projects. In those instances, you are often writing for “mood” not genre. When the visuals are horseshoe crab and sandpiper habitat, directors don’t usually say “give me some indie rock, hip hop or dubstep.”
So…I never write on whim, or what I just “feel” like writing. I write
what I know functions in a given situation, based on my experience. Most writers seem to be focused on backend money from TV placements and probably don’t even think about what music gets used outside that world.There’s always a visual in my head to which I’m writing.
what they come up with sounds like disparate ideas brought together without the effort in making it work cohesively
Pretty much what I’d sound like if I tried to do what you do Rob! 😛
No worries. Good luck in your endeavors.
I was more responding to the concrete “this is the way it’s done” vibe that I got from the post I quoted. I don’t doubt that this happens, and of course physical networking is important
I guess people read into things what they want to read into things, if they’re looking for an argument. No, it’s not the only way that things get done. But, in my opinion, the higher up the food chain you want to go, the power of a personal introduction (which could be via Twitter, FB, phone or email)is still more effective than an unsolicited communication.
So you meet every library owner in person and agree with a gentleman’s handshake and a glass of scotch? You seem very matter-of-fact and uncompromising in your statements. You must be at the upper echelon of the library writing business.
As a matter of fact, most of the library deals that I have done, prior to the advent of online libraries, were kind of like that. And, there were lunches, dinners, birthday parties and funerals along the way. The library business can be a small world, in which the owners of the top libraries, especially PMA libraries, know each other. So, while you originally dismissed Desire Inspires statement, face to face networking is important.
That said, I’ve also made many friends in this business through social networking, including this forum. As with traditional networking, connections are made, and doors can be opened. That is why I caution people on how they present themselves. I often ask myself, as a professional, “is this someone that I’d be comfortable introducing to
this person or library?”_Michael
Great video. Thanks for posting Art. I’ve been to the Cornell Lab of Ornithology, a very cool place.
Art, this thread has really devolved into a rant of little value. The company at the heart of this debate was removed from MLR listings long ago because it is pay to play. So the thread is basically moot.
THE MOTTO IS SIMPLE: YOU CANNOT A&R MUSIC FOR LICENSING.
Nobody knows what a client needs. It is an out dated model.With all due respect, you have no idea what you are talking about. Most libraries worth their salt have someone who decides what gets in and what doesn’t. That is A&R.
BIGG ROMME your time would be better spent improving your craft and learning about the business from industry pros, rather than engaging in a one man campaign against a particular company and a satyrical music supervisor.
A word of advice: A&R people do read forums, and that can influence whether or not they want to work with you.
What I am learning is that the older generation feel for the “car company” more than new generation.
ROTFLMAO. Gee Art, we’re probably both old enough to be BIGG ROME’S Daddy. Shall we sign up for “the car company,” while we still have the strength to get up off our rockers? 😛
I think doing “custom” music for a discounted fee, and retaining the rights in exchange is preferable. That way, you essentially get paid to build your own catalog. And…you know that what your writing is functional.
_Michael