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In short, Michael, I’d like both. 🙂 I’d like to form a relationship with an APM, but also wanna get a jump on this season, provided it’s not going to cost me too much in the long run.
Maybe split up the 100 cues? Put 50 in RF and save 50 for higher end libraries? It is often suggested here to diversify, putting your music in different models and different tier libraries.
Although basically an advertisement for SONAR, this article is timely to the discussion, I feel:
For what it’s worth, this simple Minimal Music cue has sold 18 times via RF libraries. Don’t know if that is good or bad for your purposes. It’s really the only minimalist cue I have, I don’t usually create in this style.
https://www.pond5.com/stock-music/11936178/minimal-music.html#2
Were mechanical royalties (DVD sales) discussed and offered when you were negotiating? Was there a standard arrangement/percentage you were offered?
Film placements were through libraries, so I didn’t do any negotiating. Haven’t seen any money from DVD.
Side issue but I also wondered whether they add you to the credits of the film?
One of the placements did list me in the end credits of the film. The other did not. I’m pretty sure they call being credited a “moral right”. In most library contracts the composer waives moral rights. If they didn’t, just imagine the long list of names at the end of every reality TV show!
I’ve had a couple feature film placements, it’s true, no royalties for domestic performances. So you can expect money for international performances, then Showtime, HBO, Netflix and etc. The amounts paid in royalties are “typical”. At least in my cases, nothing to write home about. So getting a generous up-front fee is a plus.
>How far do you guys go with music theory?<
Real world example: Today I’m working on a Tango piece. I have a violin melody I want to harmonize with my Gypsy Jazz acoustic guitar. So I write the violin melody out on staff paper (in concert pitch) and put the chord changes above. I use that to easily write out my guitar harmony part. It takes away a lot of trial and error. Another example is background vocal harmonies. I do the same thing, write out the lead vocal line along with the changes and use that to write harmonies to. I usually do a three part background vocal, the lead plus two harmonies. Lets see – I use theory to quickly create guide tone lines. I put the chord changes on staff paper and write a line that makes sense based on theory. There must be many more examples. Oh – simple theory knowledge helps when using loops. If you’re writing in G minor you know you can try a loop that is in Bb major. Things like that.
>And: How would the trained theory masters write if they didn’t have the knowledge anymore?<
I don’t know. I mean if they’re writing from their heart or “inner feeling” as you say, it probably wouldn’t make a difference. If they have a deadline looming and are stuck somehow creating music for a client, theory knowledge can save the day.
I don’t do orchestral, but would agree that being able to understand music notation is essential for any style. Not only notation, but theory like chord structures (spelling), chord scales, and guide tone writing.
Now don’t get me started on guitar players and tablature! 🙂
Yeah, this is a good question and something I’m in the middle of now. I have a collection being considered by a very high end library and it’s hard to be patient! I’m going with “A” and writing after a month… but of course I’ll hear from them before then with an amazing offer, right? 🙂
And, even after some time has gone by without any action, it’s not all that uncommon to get a surprise email from a library you kind of forgot about, telling you about a nice placement/payment. It’s a waiting game, a marathon not a sprint and all the other cliches thrown about here. 🙂
I don’t know about asking “what’s up”. I mean you know what’s up, there has been no placements or sales of your material. 🙂 Maybe a different question, like “can I do anything to help generate sales” or “is there a different style I can provide that is more popular with your clients”.
I generally just “set and forget” and submit my new material to libraries that are earning.
They’ll also send a statement of foreign taxes withheld in US dollars, which you may need.
Got one from Getty today. Haven’t seen P5 yet, but usually get one.
Tell me about it. ASCAP cue sheets show I’m in 20 different episodes of “Love it or List it”. Twenty two placements showed up in today’s international statement though, so at least there is that…
By how, do mean what to say in response to the offer?
I usually politely explain why I can’t accept an offer, and come back with what I would accept. You might say something like “given the amount of time put into each track, along with my expenses for hiring talent and buying instruments, software, hardware and etc, I don’t feel 25% of licenses with no upfront fee is adequate compensation. Would you consider….”
Usually the answer from the client/library is, “Well, we have expenses also. Office expenses, telephone, staff and etc”.
To me, the expenses for either side is a wash, and 50/50 is the only deal that makes sense.
Thanks for confirming.