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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.
Thanks Michael. Timely and informative.
What advantage does a MS gain by having a big cattle call (You inform 5 or 10 deal board type sites) and hundreds of people (if not thousands) get the information about the music listing?
Maybe a cut of the submission fees?
Don’t know where that brief is from but it is also listed on Songtradr.
In the past 15-20 years, for most composers, production music has evolved from something you could earn a living at to being just a part of the income puzzle.
I agree, Michael. Also, I feel it’s not always how much you make but how well you manage it. Combine that with what sacrifices you are willing to make and the income can go further.
What I don’t know is how a music supervisor thinks when they go looking for a specific piece of music, and I find that difficult to judge.
I don’t think this is knowable. Many times I’ve read a music supervisor’s brief and provided what I felt was the perfect track that met the description exactly. Only to be passed up. In some cases I’ve heard what was selected and it made no sense to me at all. On the other hand, for some of my placements, I’ve wondered why they even chose mine.
Create what makes sense to you, don’t over think it. Submit, forget it and move on to the next.
Would the music i’ve uploaded to that link work in a library context ?
I’ve given up trying to predict what sells, you just never know. I know that’s not helpful, I’m posting to tell you some of your tracks have a lot of blank space upfront. Victorious has seven seconds of silence before the track plays. High Wire has three. So a customer hovers the mouse over the track and nothing happens. They probably move on before the track even starts.
For full length tracks I put 0.25 of a second (250 milliseconds) silence upfront. This is a throwback from the CD days. It insured the start of a track wouldn’t be cutoff by the CD player. For timing edits I do not add silence.
RIP Chuck Loeb. A friend of mine did some gigs on bass with him a few years back and we had a chance to meet….
I agree with Advice, the post back in 2014 (“But the bottom line is “Never say NEVER”… Every situation is unique) and this recent post (“there are both good and bad”). Earlier this year one of my tracks earned a $10,000 license fee directly because of a paid submission I made two years ago. I like the strategy of spreading tracks around the different business models and this sometimes includes paying to submit.
Yeah, I’ve posted here before about a track of mine in a movie. 1.8 million Netflix views paid $54.00…
They do, but I was wondering the opposite. Does this turn the tide to Discovery doing direct licensing…
oops, didn’t see Art’s reply before posting…
I don’t think Art meant actually creating full songs in different time sigs. I think the concept is something like – if it takes a two and one half beat drum intro to get your 30 seconds, go for it. As long as it sounds musical and natural. And, two track editing software (not a full blown DAW program) doesn’t care about time signatures.