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I don’t know anything about Michael Kruk’s course. It seems way too expensive to me.
I was a member of Jesse Josephson’s Sync Academy and found it to be useful. Its relatively inexpensive. There’s tons of tutorials on subjects ranging from “How to finish Music Tracks” to “How to pitch to libraries”. He also has a service called sync Edge where he recommends libraries for newbies to submit their music to along with the genre that he thinks would work best for that library.
Having said that, the most useful resource I have used is MLR… there’s a full list of libraries and lots of comments on many of them. There’s a forum full of extremely detailed discussions.
Then, there’s the Facebook group called “A Composer’s Guide to Library Music Discussion”. These 2 are by far the most useful.
As LAwriter mentioned what’s most important is hard work, persistence and lots and lots of research to find the library that works for you.
All the best!
Same here
Dont use it myself but have heard good things about Backblaze
Thanks RM90.
In the modern pop category I’m enjoying these –
1. Futureproof – Nothing But Thieves (Modern rock)
2. Midnight Sky – Miley Cyrus
3. Levitating – Dua Lipa
4. Easy On Me – Adele
5. Mars Simula – Chevelle (rock)Don’t know how to insert a graph… so, here is mine in text –
Been uploading to RF libs for 3 and a half years … and to exclusive libs for just over a year.
RF Libraries – 60%
Royalty Backend – 30% (A significant part of this is from a single RF track)
Sync – 10%Regards
Happy New Year to everyone!
Thanks boinkeee2000 for adding to the knowledge.
After 3 and a half years, here’s my experience.
I started doing library music in May 2018 to build up a royalty income stream over time. I did a lot of research on the internet… and MLR has been my primary source of information and inspiration. Thanks to all the amazing industry veterans here.
I produce about 100 – 120 tracks per year for libraries across RF and exclusive streams. I currently have about 250 RF tracks and 195 Exclusive tracks. Starting 2021, I have reduced submissions to RF sites in a big way. To be precise, I uploaded only 33 tracks to RF sites in 2021 (Many of these were rejects from my exclusive libraries).
This has been my career trajectory so far.
May 2018 – started uploading to RF sites
Aug 2018 – started seeing sales on RF sites
Sep 2019 – joined first exclusive library
Jun 2020 – Started receiving backend
Mar 2021 – joined 2nd exclusive libraryEarnings
2018 (5 months of earnings)
RF – $ 137.60
Backend – $ 0
Total – $137.602019
RF – $ 3937.63
Backend – $ 0
Total – $ 3937.632020
RF – $ 4380.29
Backend – $ 1203.06 (90% of this is from a single RF track earning backend in Romania)
Total – $ 5583.352021
RF – $ 3324.64
Backend – $ 1703.65 (Still, about 60-65% of this is from the same RF track in Romania)
Sync – $ 591.53
Total – $ 5619.82In summary
1. RF sites did well the first 2 years and then nosedived… at the moment, they seem to be a losing bet. I now upload tracks rejected by exclusive libs to RF sites. This is not necessarily a winning strategy as the kind of music that does well on RF sites is much different to the music that’s requested by the exclusive libraries that I am in.
2. On the other hand, one could also speculate that the reason RF sales dropped so much is due to my not having uploaded as many tracks as the 2 years prior.
3. I got lucky with one RF track getting me a consistent amount of backend over these beginning years. It’s kept me going as my exclusive catalog grows slowly and starts accumulating its own backend.
4. Admittedly, I have been focusing more on quantity than quality. Starting 2022, I plan to pay much more attention to the latter.It would be great if the others on this thread updated their latest milestones so all of us can learn something.
All the best to all of us!
The music library business is as much a game of numbers as it is of quality. Having every track mixed by someone else would be a very costly affair and it will take you a much longer time to make money from it. So, self-mixing is definitely an essential skill. Its also crucial to be able to mix your own tracks when there are short-deadline briefs from your library… sometimes you have to compose, produce, mix and master a track in less then 24 hours.
There are hundreds of videos on Youtube giving out good mixing advice. And these are all just principles. As you keep applying them on every track you make you’ll find your skills increasing each day.
All the best!
I believe Distrokid has something called a Legacy option. They charge you a one time extra fee for keeping your music online forever.
Hi RobertJ6401,
All the exclusive libraries that I’m with send out briefs for music… sometimes for specific shows they are supplying music to… sometimes for planned upcoming album releases (which are a compilation from many composers). They will then either accept or reject the tracks you submit based on their standards.
In order to receive these briefs, you have to first get accepted to their roster of composers.
HTH!