[Mike Marino]

Very interesting. Thanks for the heads-up!

[Mike Marino]

Exactly, I just want to learn more about how everything works. Thanks for these resources!

[Mike Marino]

Thanks for the breakdown, Michael. If the majority of cue sheets are filed each quarter, why does it take an additional 2-3 quarters to get paid? Do you think the “less systematic” nature plays a role in why it takes so long?

I’m not complaining (yet), just curious as to what’s actually going on with it all.

[Mike Marino]

Thanks Keith. I’ll be checking this out for sure. And great interview you did with Kyle Z. Really enjoyed it!

– Mike

[Mike Marino]

My first placement took about 3 and a half months. It was a drumline track used for Target’s “Give With Target” online ad campaign. The placement was made through Music Dealers. I had to make a few small revisions of the tack for Target, but was glad it worked out. Ended up being $750 in my pocket (all up front).

[Mike Marino]

Hi DecadeZ! I’m afraid I don’t have much info for you on this one. I know Music Supervisors (non exclusive) has pitched for music in films from time to time but I’m not sure beyond that. I would think that in most cases a library would be filling in some underscore (under dialogue) type music; very in-the-background. Anything super notable would probably be covered by the composer for the film.

Outside of your trailer music houses I’m not really sure.

[Mike Marino]

Here are a couple of vids to for Agitato and Adagietto (which you mentioned.:

Agitato: https://www.youtube.com/watch?v=tschqskhB2s

Adagietto: https://www.youtube.com/watch?v=wikbSS1cE3o

[Mike Marino]

I would worry about system resources for sure. Some of the libraries you’ve mentioned may also have a ‘lite’ version of their patches.

In the end it’s doubtful to find one library to cover all of your bases (well, at least).

If you haven’t already I’d spend a lot of time listening to the demos done with each library. Figure out which one sounds “best” to your ears and your style of writing. Something else to consider is HOW each library fits into your workflow. Some are more performance oriented while others depend on more key-switching. Check out any walk-through videos (if you haven’t already) to get a better idea.

[Mike Marino]

I received money in the October BMI distribution for some cues that I did 18 years ago, for an exclusive. First time for those cues.

Wow, that’s great! Seems to be an extreme example and closer to the exception than the rule.

I don’t think I’m being impatient. I think I’m recognizing that 25 out of the last 30 tracks posted from library x or library y is made up of a very specific style or series of styles that I’m not able to produce….so it got me thinking that maybe these aren’t the right places for my music.

[Mike Marino]

@Edouardo: The details of what you can and can’t do regarding your CD self-publishing idea may vary amongst the Excl libraries. I would double-check prior to signing anything with them.

Also, if you haven’t already, you’re probably going to want to take some time and create a fresh new stock of music (beyond your two stand-out tracks) aimed at the libraries you’re looking to get in with. Submitting music to them that’s available might make a better splash than music they can’t have.

Would certainly like to hear some others chime in.

[Mike Marino]

Great insight in this discussion.

@Kubed: You’re right, I’m not particularly interested in doing much of anything in the RF market.

[Mike Marino]

@Trackmaster: Yeah man, go for it! Two of your biggest wealth building tools are (obviously) your income along with becoming (and staying) debt free.

Millionaires are generally readers; the average millionaire reads one non-fiction book a month. Author Thomas Stanley has made a study of millionaires (and deca millionaires) in his books and found that the number one key attribute of these people was integrity. Fanatical levels of integrity. Lots of interesting information regarding this subject. His books are: The Millionaire Next Door, The Millionaire Mind (deca-millionaires), and Stop Acting Rich (a study contrasting the way the public thinks millionaires behave with their money and their actual behaviors).

@Mark_Petrie: Yeah, I can’t see $75k getting you too far in LA, San Fran, NYC, etc. Then to contrast that, here in the southeast US, you’d be doing just fine on that amount. It all depends where you are.

[Mike Marino]

Paolo,

Thanks for the insight! To me, the downside of keeping my music there and ignoring it just adds to the clogging and congestion for other composers who might have the right style and sound to do better in these places. If everyone removed their music out of the places they know it probably doesn’t really belong, it might be a little bit of a different space.

I don’t know if it feels like a splinter as much as a big disappointment and waste of time and energy. Again, a lot of it is my fault for not doing enough research (continuously) to make sure the libraries were the best fit from the start.

[Mike Marino]

Thanks for the input, guys.

Do you mean like JP and SK, companies that go after TV placements. Or, do you mean royalty free libraries, that a different client base?

Of the two you mentioned I’m with one of them exclusively. I’m talking more in the vein of: MD, MS, iT, BT, TS, and a couple more technically.

For the most part, I don’t think it’s the fault of any of the libraries per se as much as I feel I’ve just chosen the wrong places to have my music represented.

I’m currently with a few exclusives and find most of my time is spent writing music for them. There’s direction, a sense of purpose, and a feeling that my music is a lot more than just a track #.

Great discussion thus far; keep it coming!

[Mike Marino]

Do you guys still do these edits outside of the RF sites?

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