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Well the guys at a well known library that I wont mention, all I can say is that they are getting a sallary and they produce 7 cues per day. Pretty good, pretty pretty good as our friend larry david says.
Yes, I think 500 tracks with good high end exclusives seems to be the number. But for non-exclusive re-title backend only libraries it’s more of 1500+. If you do 150 a year for ten years you will have 1500.
I write 100-150 a year, mostley with co-writers.
I can add to this question: What do you think is the total number of tracks you need in order to make a living out of that? 2000? 4000? 8000?
Well…how?
Do you know if you can get on IMDB from library background music on reality TV shows?
Regarding going exclusive without up front money. They will need to perform 5 times better then before to supplement the money you will lose from other opertonitis like RF, personal connections and deals, other NE libraries and so on and I dont think with all of the good will of those exclusive libraries, they cannot deliver 5 times better just because you are exclusive, you take all the risk. When you get up front money, they take all the risk because now they will need to perform better in order to get they investment back and this is a good situation. But when they get free exclusive tracks they will not work that hard to get the investment back because, they didn’t invest!
Hey guys, all I can say is this:
In broadcast you want your cues to get the most airtime they can get=big money
In RF you want all your cues to sell many times=big moneyThats all, what ever if its exclusive or non exclusive it dosent metter.
I can say that I have a non-exclusive deal with a big company that dont like non-exclusive stuff, how so you ask? its all about music and personal relationships. Do what ever is working for you, we here to make money.Desire_Inspires, I was not being rude, this is just a figure of speech.
I hate when pepple think that what they do is the next best thing next to sliced bread. Today there is so much guys trying to get into the biz so if you get something, say thank you. Yes its not nice not to know where they use your music but hey at least you are getting paid.Peace.
BIGG ROME, please. Music is not sacred. Even motart music got to public domain 70 years after he die.
We are talking about production music, this is just a building block to a whole production, this is not some a one in a life time experience.
If you cant understand biz, dont be in it. This is how it goes everywhere. S**t happens, peace.What if i will build this kind of site but also market it to very high end libraries and some mid and low end ones? Kind of publisher for tracks to sale.
Tell me who is for it and who will like to post tracks.
You can only copyright melody, that’s all.
MichaelL, dont you think that when the internet will become the main resource for those shows and media content that are now broadcasted mainly on TV then BMI and ASCAP will get more in licence fees from the internet sites at the same rate that now is being paid by TV networks? Internet royalty rate are low because it’s not the main thing, there is still tv channels around that are attracting a lot of viewers, when it will end then the internet site will be required to pay their fees like the TV networks did, if they are attracting the same amount of viewers and generating the same amount of revenue as a result.
DP, I don’t think there is nothing to worry about really. If the internet will become the main place where people consume media then those places will pay licence fees to BMI ASCAP etc and we will get royalties.
Great, thanks Mark.
Mark thanks for the info. Do you also provide alt mixes for those companies?
And one more question if you don’t mind and its a little off topic, but what do you noticed the licence fee is after the split with the library you get most of the times?Thanks.