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A thought on the non-exclusive v. exclusive debate. As far as libraries that focus on getting broadcast placements that pay backend, it’s getting harder and harder to actually find companies using the NE model.
Over the years, most of the companies that placed my music non-exclusively on TV shows have either gone exclusive only or are not really active. I guess I can’t name names here, but here is an example using MLR’s search capabilities.
I set the search parameters to:
Non-exclusive
Accepting Submissions = Yes
Royalty Free = No (concentrating on broadcast specific libraries)
Requires Cue Sheets = Yes
Active Library = Yes
Content ID = No (Content ID requires exclusive)There were three results out of 864. I’m just not sure where to put my new NE cues anymore, outside of RF. It seems writers cannot avoid providing exclusive cues if they are looking for broadcast/backend placements.
Thanks Golds, another tool for the arsenal. I’ve been in audio for a long time but didn’t know about this technique or about the “debate” surrounding it. Never too old to learn…
No, but it looks like something fun to try. Are you a fan?
Somebody with more knowledge may be able to explain it better, but I believe that just having a cue sheet doesn’t guarantee payment. It all has to do with what and when channels are “surveyed” by ASCAP.
I have a track in a movie on Netflix. After 1.8 Million streams I got $54.00. This is bad news for us as more and more viewers turn their back on broadcast and embrace streaming…
My year was average. Sync, back-end and RF sales make about 1/3rd of my income also. Work for hire songwriting projects in the educational field is a big part of the the rest of it. A smaller part is made up of an occasional gig, article writing for Recording Magazine, and some work for clients in my studio. Our expenses are low here so in addition to the wife’s income I luckily don’t need anything else.
I’ve also recently uploaded a large amount of cut-downs to P5 and others. 15, 30, 60, loop and stings for many of my existing tracks.
Hi Rorywill, you can find libraries by clicking on 500+ libraries and expanding the alphabetical tabs.
Sound vault is on this site. Comments going back to 2010…
Rorywill, I’m sure I’ve been rejected or ignored for opportunities in music creation way more than I’ve been accepted. I’ll go out on a limb and say that is true for most everyone here. I’m pleasantly surprised when I hear back from someone interested, and often have to go back to my sent emails to even see what it was I submitted to. When I hear back with a rejection, I delete the email and move on. It doesn’t really mean anything. So don’t let the rejections eat at you…
Yeah, back in the old days PA (if we’re talking about the same co.) used to command some dollars. I’ve posted here before about receiving a $5,000 payment meaning they collected $10,000. How things have changed….
Just yesterday I gave away a subwoofer to a friends son. Haven’t used it since I changed my monitors to the Mackie HR824’s which go down to around 35 Hz.
I’ve recently seen more people here on MLR talk about signing exclusive songs with companies like JP or M that only get back end PRO royalties. I was curious why you would settle for that?
I think it’s possible that people are submitting their “B” material to places like those, saving their “A” stuff for different opportunities. “B” material being quick one offs, nothing too time consuming or “dear to the heart”. Just feeding the machine…
So far my requirements to sign EX has been that the company either has to pay up front for tracks (which is rare), or at least I know that they have a proven track record and willl be actively pitching the music for deals that get licensing fees in addition to back end.
Don’t forget a reversion clause for those not paying upfront. This gives you the opportunity to get your tracks back if they do end up collecting dust!
Good luck with the shopping Art. FWIW, one thing I’ve been getting when going that route is “really good stuff, but we just released something similar”. It may be a question of timing when not writing to a brief.
Today I saw my cue sheet total had jumped from 350 to 1,040. Ha, I wish!! I suppose the 1,040 is an episode count total, so 1,040 cue sheets over 350 series. I think it was more useful when episode counts were displayed per series, not as a whole. Then again, an episode total is an easy way to see if shows are continuing to use your cues.
I type (on PC) “CTRL F” to open the search box of my browser software, then I type in my last name. Jumps right to what of mine was used.