Forum Replies Created
-
Posts
-
Jay, I would be interested in knowing which library has the $8 limit. I might limit what I send to them. Hmm….let’s see, wink, nod and try an abbreviation.
Cheers,
Michaelit varies greatly but I have about 200 sounds and right now in summer (slow season for me) around $50. monthly but just having raised my prices substantially I hope to @ least double that in winter..time will tell..
As with other areas of this business, it sounds like it takes a a few thousand FX along a substantial investment of time and money, to get a decent return.
I’m with Art. I’d like to know who that is. Total BS.
As a lawyer, I’d love to hear their explanation.Maybe those terms (in perpetuity) only apply if you are accepted into the library.
Are writers really that desparate?
BTW…how do you know they’re reputable…just because they’ve been written about here????
Funny this thread should come up now. FX and sound design are cool. I did sound design for a year or two for a major media company, back in the 90s. I still hear my “sounds” on radio all the time…the little noises in between everything else.
Since getting back into the “business,” I’ve been collecting new raw material for a few years with a Zoom H4N. It goes wherever I go. I also set up foley stuff in the studio. I’ve got hundreds of raw sounds. One of my first projects, after the dust settles here is to edit, process and upload the whole collection.
It’s fun. Even my wife has gotten to the point where she’ll hear something and say, “that’s a good sound, you should record it.”
“…all you have to do is listen” _August Rush
Cheers,
MichaelYou “kids” crack me up. 😀
LOL!
I agree with all of the above, with respect to the amount of time necessary to do this well, and to succeed. It is a full-time job, and then some . Be prepared to work 10+ hours, per day, 5 or more days per week.
You have to be proficient at composing and producing, as well as all of the administrative tasks and responsibilities involved. This career is no different than any other business that you might own. Ask a restaurant owner how many hours they put in, or a contractor.
If you approach producing library music in anything less than a businesslike manner, you’re going to have a tough time.Caveat: I can’t say whether this advice applies to songwriter indy- artist types. That’s really another world that I don’t get involved in. I’m speaking strictly about writing production music.
Cheers,
MichaelLIf Rob is talkling about the same company that you are, it makes sense.
Rob, I think you mentioned this company to me before…yes?
What happens if the libraries pass on the tracks? Does the feeder company return them to the composer?
Do publishers, due to the cost and admin headache, typically wait until there has been an actual placement to do this? Do they not do it all and let the publishing contract itself and PRO registration document the assignment?
Hi Advice,
I can’t speak to the practices of all publishers, and /or what different procedure they may follow. Yes, a publisher would have to file for a second registration as a published work, if you filed as an unpublished work. No big deal. Waiting for a placement would seem odd.
Non-exclusives sometimes don’t register with your PRO until there’s a placement, but that’s different althogether.The request from the publisher that you not copyright your music raises a bit of a red flag with me too, unless it’s a work for hire situation. In that case filing the copyright is up to them.
What may be going on is that the publisher waits until they accumulate a number of works, and then they register them as a collection to save money, which raises issues on its own. In a worst case scenario, they are not even bothering to register your music. You’d be suprised how much that happens. You can actually check with the copyright office to see if this company owns any copyrights. That’ll let you know if they bother to register.
Personally, I would be uncomfortable sending uncopyrighted material anywhere. Try to get an explanation.
Best,
MichaelHi Denis, yes, MOTU sorted out the bugs in 8.1. I still use VEPRO for things like hosting my LASS template. I think that DP is up to version 8.2 or more now. I’ve been out of my studio for so long I’ve got alot of updating to do!
@JohnJudd, I think you’ll be happy with your choice. I’ve used Performer since Version 1, about 25 years ago. I’ve been very pleased with DP8.
If you’re scoring to picture, it’s great.I tried Logic because it went 64bit first, but didn’t like it, so I went back to DP7 and VEPRO.
I’ve also thought about Pro Tools, but just for recording. I know a number of writers who use DP on the front end for sequencing, and Pro Tools for recording/mixing. So far, I haven’t found a need to do that.
And, I’ve heard that PT doesn’t play “friendly” with some instruments, like Kontakt.Let me know how you like it.
Cheers,
MichaelFauxMusicSupe: If you GIVE your music away for free, to a company with SALARIED composers, your music will be treated with the value in which it was paid.
This business model is a train that a lot of people willingly jumped in front of, when many knowledgable people said “don’t do it.”
Granted, they changed the rules of the game midstream, but you really didn’t need a crystal ball to see that coming either.There is no rhyme or reason to any of this and from my perspective success in the music cue business is all based on:
1. luck
2. having a lot of high quality tracks on the market and in libraries with clients.
3. The tastes of editors editing shows and what music tracks they chose to use….this kind of goes back to point 1…luck…
4. The accuracy of cue sheets getting filed.
5. The honesty of the library owners.#2 is probably the most important.
If you do not have, and cannot develop, a large catalog this business is just an expensive hobby.
_MichaelL
@More Advice…perhaps instead of giving more advice you should do “more research.” 😉
Look under promotional announcements. http://www.ascap.com/members/payment/musicinadvertisements.aspx
The USA Network would be considered “all other” and radio, which is “sample surveyed,” which means “oops we missed your promo…sorry,” in ASCAP speak.
Switching was hell, but I’m glad I did. Just dropped my ASCAP publishing company too, and the guy who writes for me moved to BMI too. I’m transferring all of his stuff to one of my BMI entities.
All well said Mark.
In my experience attacking those with lessor skill or lessor success comes from basic insecurity, which is somewhat of an oxymoron, when coming from those who are more skilled and more successful. Maybe then, it’s just an ego stroke.
Whatever the reason, it’s certainly not helpful to those further down the ladder, who are no threat whatsoever to the more successful person.
All of the pros that I know, who are confident in their place in the world, are gracious and helpful to others. They are also confident in their creative decisions and pragmatic when necessary.
Cheers,
MichaelSome RF libraries, like AudioSparx require their clients to fill out cue sheets, when appropriate. Others, like MusicLoops, will provide PRO information when asked. So, Tbone is correct. I did my first RF collection back around 1982 or 83. The sales pitch back then was more acurately, “no needle drop.”
It’s not a black and white world. There’s plenty of gray where RF and exclusive overlap. But, there’s an even wider field, where they do not.
My point is that you shouldn’t dismiss RF libraries, especially if you have a large catalog.