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I agree with Desire, about the strings at the beginning being harsh. Personally it kind of threw me off listening to the rest of the track, but I did and liked the composition towards the end. I think the beginning needs a little work because to me :35+ starts to get my attention but before that I’d skip through it. With stock music, a music sup/whoever demo’ing your stuff may give you 10-15 seconds to listen and if it doesn’t get them engaged early they will go on to the next.
Besides that I think if you rework the mix/master of the track it has potential to sound pretty boss. Just my 2 cents, hope that helps.
It’s kind of hard to judge with 8 tracks in the water. You know the libraries reputation and you might be able to talk to someone at the library to see if you can get a realistic expectation from them. If your sacrificing time with them and losing out on potential income from other libraries then you might have to re-adjust your priorities. The rumor is some top end exclusives pay off big with a small amount of tracks. Is there anyway for you to connect with some of the musicians with that library, and ask how there experience was?
It might be one of those things where just about the time your thinking of quitting with them they land you a huge placement. I’d try to either talk to the library or some of the musicians that contribute to it, and then go from there.
Sounds like some legalize, and a deal that is heads they win tails you lose. Personally I wouldn’t feel comfortable with that arrangement.
I’d like to point out that people do not shop solely on price. People shop for value. So take this example for what it is worth. You have two pieces of music both similar. One selling for $25 one priced at $30, or whatever. The lowest priced track does not ensure a sale just cause it is cheaper. If the $30 track has better quality, or it sync’s better with the project it will have a better overall value.
It’s an old lesson that is chapter one in economics or business class. Value is what people buy, and people look for the best value at the best price. As musicians we can build value into our music and charge more. At the same time there is a market at many levels of the licensing game. Some musicians target one market with a particular “comfort zone” of pricing maybe between $25-100. Some target lower priced projects monetized youtube, webisodes, podcasts, super low budget stuff where music between $5-25 dollars might be more comfortable. Others focus on the high end market where the sky’s the limit.
It really just depends on what type of projects your targeting with your music, and then pricing based on the the “comfort zone” of that market. If your in a library where it’s between the 25-100 zone, if you build enough value into your music you can be successful with a price somewhere in that zone.
Think of it kind of like the car market. You have the super high end cars thing Lamborghini, Ferrari, ect. Those cars can go for 6 figures or more. Now why can they charge that because they build value into their product. Those high end cars are not competing with the Chevy and Fords of the world. It’s all about market, and value.
I think the most important thing is having quality music spread in many different markets. You might have some music that does great in one market but terrible in another. You have to find the balance that makes sense for the type of music you excel at producing.
haha nice
I heard that too Mark. It’s amazing how powerful a google search can be. I guess it’s a solid lesson for us and library owners to make sure to stay on top of SEO.
Best first quarter ever.
I would start by seeing what a quick license price would be and then go from there.
Personally, I would pass on that deal. I don’t like the idea of splitting writers share at all.
Personally, I kind of feel like the question itself is irrelevant. It’s almost like saying what is better jingle writing, or music beds. If your making a living at either does it really matter.
Some music works better for broadcast, some music works well for non-broadcast. They are just different markets. Saying one is superior over another really just depends on what musician you ask, and how successful they are in their market.
I wouldn’t count the number of people that respond in the forums to be a judge of what is successful, or not. There is more then enough opportunity at every level of this game, and it really just depends on two things: your music and how hard you work.
I agree with a lot of the posts that you need to be fishing in a lot of different markets. Find out which markets work best for you and work hard to become successful in that market. Having multiple streams of revenue from different markets is a great way to protect yourself.
MichaelL is very correct when it comes to broadcast television making a shift to a streaming format. If anything is going to destroy that market, it is that shift. It is already happening. Most of my friends now only watch netflix and hulu (myself included). Now you are getting AppleTV, chromecast, and other streaming services coming around, and let me tell you; I wouldn’t trade my netflix subscription for a cable subscription any time soon.
Great post MichaelL, could not agree with you more!
I second Vlad. I don’t think it would be worth the risk of a potential problem later down the line.
I would say no to that business model.