Forum Replies Created
I think SoundScape is in Canada. But it is also a subscription library.August 2, 2021 at 8:39 am in reply to: Are you required to register your track with a PRO once accepted by a library? #38509
If you are submitting tracks to Crucial Music you do have to register them with a PRO before submitting. They use the registration as verification of rights holders.
Aside from the education, it’s also about the people you meet during those years. I still work with musicians and friends that I met at Berklee so many years ago!
Is this what you’re referencing?
I think they may have been referring to licensing issues. For example, most licenses state that the sounds may not be used in isolation, they must be combined with one or more other elements. Some licenses state that compositions using their sounds cannot be placed in music libraries at all. Composers breaking these agreements make problems for publishers, libraries and etc.
And yes, samples/loops from Splice could potentially cause issues. Read the Splice licensing agreement closely and always work within its parameters.
Berklee grad here also though about 100 years ago 🙂
at the very least making it not worth the effort to continue
This is very perceptive Michael. It may not be AI alone right now, but all factors combined that can make it not worth the effort to continue. AI plus shrinking percentages, lack of upfront money, lack of or no sharing of sync fees, subscription services, TV and radio streaming paying pennies, libraries that once earned either out of business or no loner earning. I’m sure I’ve missed some. I hope there are some able to navigate through this and succeed. As you know, I’m personally on a break from submitting exactly because the decline in income just isn’t making it worth the effort.June 29, 2021 at 8:51 am in reply to: Today’s State of the Exclusive vs Non-exclusive Debate #38210
There is also the point of even finding a decent library offering non-exclusive representation these days. One that actually earns and doesn’t take 75%, or offer a subscription plan. So many of the non-exclusives went exclusive some time ago. And income from the ones that haven’t has dried up, at least for me.
I use to get about $200-$300 per month from them. This was with only about 275 songs. That was 3 years ago, Today I’m lucky if I even see a $10 from them.
Same here. And on top of it Getty terminated agreements with composers and closed down the music portal. They were good for a couple thousand a year.
However, I found a model that works for me and has enabled me to make composing my profession for the last decade plus.
Thanks for the thoughtful post JoelS. I did the same over my career, creating music for educational products. For me, more lucrative than the library business which I worked on when not doing WFH projects.
How have others shifted focus, found new outlets, etc to cope with these micro shifts?
I shifted focus away from just about everything I did in the past. I took a break from the studio and didn’t submit anything anywhere. For me it was just too discouraging working so hard for literal pennies. Streaming pennies, Pond5 pennies, reality show pennies. I hit a plateau years ago and it seems and all music creation income is on the decline. When I got back to the studio I started working on songs that I’m happy to create, regardless of the income they might generate. I’m working with high profile musicians and a vocalist to produce full length songs that we will be proud of. No more “Happy Ukulele Cue 27”. Right now I’m in a position to do so, augmenting my income with a music releated side hustle.