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There isn’t much similar to Crucial, just because they are non-exclusive. So a direction to point you to is towards exclusive libraries. You might take a look at https://heavyhittersmusic.com/
Did you get the impression the teenager who created the beat is getting a writers share, or was the $30 it for compensation?
Explanation:
“This debit occurred per erroneous matching of the wrong cue sheet…We did have to delete the erroneously matched performance, hence the debit adjustments that appear on your April 2019 royalty statement.”
Relying on cue sheets is such an inexact science given the technology available today.
Yep, I’ve been doing that. Still a tough nut to crack.
Same here. Also no response to my writing them for an explanation.
Always check the music releases of the libraries you want to work with thoroughly
Quite true. More than once I’ve been told “we would take on your album but we just released one in that style”.
You’d have to keep your own spreadsheet and compare the numbers to find out where the new ones came into. Probably too much work, especially if cue sheets number into the thousands.
It’s a bit easier to notice when a new series is added though. Those are displayed alphabetically, 25 per screen.
Not that I’ve ever seen. The filter option gives you a bunch of ways to search but date isn’t one of them.
focus on music that is harder for a kid with some loops and good samples in Garageband to put together
Great advise and something I’ve tried to do for years now! My last two tracks were in the style of early swing. I worked with a co-writer able to record (and seriously play) real piano. I played real banjo and guitar and hired a woodwind player to come in and record clarinet and tenor sax.
I think library income these days is only a part of the puzzle; at least for the large percentage of writers. It needs to be augmented with other sources. I song-write for the educational market, write articles and do the occasional live gig. Others teach.
Do them in order of which project you think will sell the best? I mean you can never really know what will sell, but maybe an educated guess.
Or do them in the order that fills the biggest hole for the library. Start with the project that is in the style they have the least of.
And even if the library doesn’t give a deadline, it doesn’t mean you can’t give yourself a deadline.
It is interesting, thanks.
So in this case they are not offering an administration only agreement, but are asking for a portion of the copyright (ownership). The deal is in perpetuity so I don’t see much difference as you would never get the administration rights back anyway.
Okay, I’ll take a stab at it. I’m no trained expert, so others may correct me!
The way I currently understand it is that if I sign with an EX library. I’m effectively granting them the copyright for the length of the contract. Right?
What you are granting are “rights”, not “copyrights”. For the length of the contract you’ve given them the exclusive “rights” to represent your music. The copyright remains yours. Of course this depends on each individual contract. Look for wording like:
“nothing contained herein shall be deemed to convey to library any interest, including copyright, in or to the tracks, and the tracks shall be the sole property of Licensor.”
In a co-publishing deal, they would maintain half the copyright and then be granted only half the publisher royalties, or 25% of the whole. And I, the writer, would collect 75%.
In a deal where you will split the publishing you, as the owner of the copyright, will grant them the right to collect a portion of the publishing royalty. Transferring 1/2 of the copyright is not necessary.
>I read somewhere, that royalties are paid to the copyright holder and to the writer. But I haven’t read that anywhere else but that makes sense. If that’s the case, then the copyright holder and the publisher are effectively the same thing?<
The writer (author) of the piece of music is the copyright holder, unless they’ve signed it away. Again, look for contract wording as in the example above. Exclusive contracts do not have to give away copyrights. Remember, if you sign away the copyright then the entity paying you for it is now considered by law its author.
but does that mean you’ve never entered into any exclusive and “in perpetuity” arrangements?
Providing content to an exclusive library doesn’t always mean you’re giving up your copyright, and you are, as copyright owner and author, entitled to collect writer royalties. In an exclusive Work for Hire agreement however you are giving away your copyright which means you no longer own the music; the company paying you is considered its author and copyright owner in law and is entitled to collect writers royalties. (Is that about right MichaelL?)
I’ve just published an article for beginners. I’m not sure how new you are to this but maybe it will be helpful:
https://sonicscoop.com/2019/03/13/making-money-with-your-recordings-through-music-libraries/