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@EV
Just my two cents here…but I think it depends on the library. Just about 100% of any track I write to brief for a library with an upfront fee has ended up earning placements (pretty quickly). I’m not sure about the hit percentage on other briefs though. You’ve got me curious enough for me to look at tracking this for myself now; thanks!
There are numerous other factors in play here as well. The show(s), the network(s), the genre(s), cattle call(s) or a smaller select group of composers, your level of relationship with the library itself, your composing/music career goals, how fast your writing is, etc etc etc.
Something else to think about: Are the briefs taking up more of your time because of the quantity in which you’re receiving them or because they’re in genres that might take you longer to compose? You don’t have to answer that here, just food for thought.
Maybe even go as far as reply to the brief with more questions to help you decide if it’s worth your time. Hope this helps in some way!
Receiving royalties from NBC Sports (Versus) as well with BMI.
How unfortunate! I’m with BMI and DO receive royalties from Big Ten Network.
Same here
@daveydad
Who is your PRO?If they’re earning any sort of revenue from the vids they’d be posting with your music you might negotiate a percentage of that money with them. Until you know more about the model I wouldn’t suggest doing that with people you don’t know.
Another option could be a barter in this case. Since your friends are great with video editing maybe they can make an edited spot for you featuring any films you’ve scored, ads or tv placements you’ve had, etc etc for your website or whatever. Basically a promo video that features you and your skills and music?
Just a couple of ideas. Good luck!
@JulesMusic One option is to look for libraries that work with shows like reality tv, sports, etc. Take a look at the credits of the show or sporting event and often times you’ll see the library (or group of them) that supplied the music for that episode or event. That would be a good starting point. From there you can look those libraries up and maybe even hear some of the music they offer, compare your music in that genre to what they offer, etc. This generally won’t earn you anything up front but could allow you to start earning some backend money (royalties) through your PRO (if you’re registered with one).
In terms of any rejected material that you have I’d say compare it to what you find within the libraries you come across from these shows (should you decide to take that route). It could bring up a number of possibilities as to how to maybe better your current music. It is certainly true that while one piece of music doesn’t work for one library it can totally work for another. Just be honest about it with yourself and spend a little bit of time trying to figure out why it didn’t get accepted before just throwing it someplace else.
Hope that helps!
– Mike@pike60 : What type of music do you tend to write and what end medium do you tend to aim your music at (ie sport shows, reality tv, trailers and tv promos, commercials, etc)?
Here’s what things are looking like for me with regard to back-end earnings:
2013: $0 (wrote 16 tracks; all NEx)
2014: $0 (wrote 21 tracks; 13 NEx, 8 Excl)
2015: $25.59 (wrote 87 tracks; 83 Excl, 4 NEx)
2016: $1467.45 (wrote 52 tracks; all Excl)
2017: $6091.87 (wrote 73 tracks: 72 Excl, 1 NEx)I have had some sync fees and upfront payments along the way, earned through exclusive and non-exclusive tracks. That looks like this:
2013: $750
2014: $0
2015: $2254.15
2016: $470.05
2017: $512.70I’m using the free service. I’ve got 50 tracks up there. But I’m constantly replacing my oldest tracks with my newest tracks (regardless if I’m seeing a lot of placements show up from them or not) instead of leaving the same 50 tracks up there all the time. This way each track has sort of been through their detection software even if only for a few months at a time.
Picks up about 5-10% for me. But I also do track swapping, replacing the oldest added track with the newest accepted track. First-in-first-out sort of thing.
For me it was my best BMI statement to date.
Not much damage for us in east Orlando. Had to do some fence repairs and we lost about 35 shingles. Other than that we didn’t deal with any other damage.
Our neighborhood had power almost the entire storm. Lost power for about 18 hours on Monday….but it we’re good now. Also had a little bit of localized flooding but that receded pretty quickly. Not a lot of trees down around us. Sustained winds were in the 50+ mph range with gusts in the mid 80s mph range with about 11 inches of rain. It could have been much much worse.
Tornadoes and storm surge did a lot of damage throughout the state (even on the northern coasts of the state). Still a lot of folks without power and under a water boil alert though.
I think the initial numbers by late Monday afternoon was around 10 million without power. Considerably less now but still….
All in all we ended up much more fortunate than many others.
Thanks! I’m in Orlando, set and as prepared as we can be. Storm path has shifted a little west of us now but there’s no getting away from this storm. Even though the path’s shifted away from me a bit the storm has actually strengthened a bit…..so we’ll see winds in the 75mph-110mph range Sunday night/Monday morning.
Hoping that myself and those around us get through with minimal damage.
I really enjoyed Steven Pressfield’s book “The War of Art.” It actually spends some time tackling this very topic. Highly recommend it for creatives if you haven’t read it yet.