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Most libraries want the co-writer to sign the agreement, including non-ex like Crucial. In RF it usually doesn’t matter, just make sure to distribute sales income according to your agreed upon split.
You should sign a co-writing agreement with your friend that spells out exactly the terms of your collaboration.
If I write a hot instrument bed and he thinks of a vocal hook, did he in fact co-write the piece?
Before the Pharrell Williams court decision, I always understood a copyright is made up of lyrics and melody. So yes he did co-write, if not entirely write the piece, as far as copyright goes.
Congrats! It would be fun to watch your first placement live, it puts a smile on your face to know that millions of people are hearing your creation. I remember sitting through soap opera episodes to hear my first placements. It was an hour of torture for a minute of satisfaction. 🙂
FWIW- the archaic survey system finally worked in my favor for a change, based on today’s domestic statement…
So my supplement to library income is as a freelance songwriter for Macmillan Educational Publishing. I’ve written hundreds of children’s songs used in dozens of their courses designed to teach English as a second language.
Yours has the happy vibe needed for the genre. I think a lot of the track is MIDI instruments? Over the years I’ve purchased a kids toy accordion, harmonicas, kazoo, a banjo, recorders and all kinds of percussion. Don’t be afraid to set up a microphone and record these instruments live. It can really add another dimension.
Actually, the tracks I were thinking about are available on Pond5 now.
https://www.pond5.com/collections/2061952
Most have horn sections, the ones that demonstrate using loops to build a solo are:
If You Riff – sax solo at 1:00
Onward Motion – trumpet solo at 1:29
True Groove – sax solo at 1:53
The Night Growl – sax solo at 1:23If you don’t listen too closely, I think they’re passable.
And the award for best corporate ukulele cue (with human whistling) goes to…just kidding, nice to have an organization spotlighting the industry 🙂
Good question, bust or gamechanger? Given a quick at their site, I didn’t see a mention of a double blind study, which could help convince which one it is….
I personally don’t have the patience to coax a realistic performance out of a VST so I say learn the sax! That is if you think you’ll be using it a lot, given the cost of a sax and the time investment. For the occasional sax parts I either bring in a sax player to my studio, use a sax player with the ability to record remotely and send me the parts, or use loops. You can get a very convincing solo using loops. I’ll send you an example if you’d like. Don’t want to post it here as it’s not watermarked.
No sync fee, no royalty yet (BMI). Very interesting, what National Geographic payment rate?
The largest amount for a single play on NGC from my last statement was $3.02 for 44 seconds.
Pay to play can definitely be a scam, buyer beware. But, I have to admit I’ve used it cautiously, and in one instance was rewarded quite nicely for my effort. I suppose if I didn’t have that success I’d be blasting the business model. But now, I’m leaning towards saying do your research and be smart about it.
No way to tell that I’ve found. There should be some sorting features (like sort by newest) but there isn’t.
Thanks for sharing your honest thoughts and experiences in these times
I think this was meant for the Irma topic, but I agree. Hope the cleanup won’t be too much of a hassle for you guys!
A deal has been made between ASCAP and Google, but it would be nice if we knew what was inside this deal below?
http://www.tubefilter.com/2017/06/13/youtube-ascap-data-sharing-deal/
Glancing at this one, it seems any increase in payment is tied to the Content ID system, which many of us here don’t utilize in order to work with RF libraries hassle free.
Thanks for the post LAwriter. I’ve had music on netflix in a much lower scale than your example. Three feature films that found their way from theater to premium cable to netflix. I can confirm it is very disappointing, even down here.
Danial, I did a front end deal earlier this year for a ten song collection. And yes, it was based on a contact I had from years back. The collection did not generate any response from other companies I reached out to; companies whom I didn’t have a relationship with.
One hurdle I’ve noticed in trying to work with a new and perhaps higher level library paying upfront is timing. I have a contact at one of these libraries, and for every project I offer it’s usually “oh, too bad, we just released something similar, don’t need it”. Unfortunately, he doesn’t write me ahead of time with their needs. I looked at their website recently. The new releases were made up of 15 different styles. I couldn’t find a hole that needed filling.
Nice composition done with convincing sounds. I like the unresolved ending.
You’d have to negotiate a deal with the master owner and the copyright owner of the sampled piece. It’s not like a mechanical license for doing a cover that has a statutory rate. They can charge you whatever they want or deny the request outright. And, you probably couldn’t take it from the TV broadcast which is probably protected in it’s own right.