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Hi mmuser,
In my opinion, since you have not used any samples in this track and it was made entirely with live instruments, you do not need a sample clearance. Sample clearance is sometimes required when you use sample libraries. Most sample libraries have a disclaimer for allowed usage. I hope that helps. Best of luck
Hey Jab, I have had a little luck with world music on P5. Although world music is not really mainstream, most libraries have at least some World music. However, not too many non exclusive libraries left around except for the so called Royalty free sites. I would refer to the thread about non exclusive libraries and see the libraries mentioned there. Best,
You have come to the right place. I suggest going into all the archives over here and doing that research for yourself. Every composer has unique skills and there is no one size fits all approach here. Best of luck
Hi Diehard, I think your music is well suited for the royalty free market on sites such as P5 and AJ. I think you will be much better off in the long run if you hold the rights and market it yourself. Best of luck
How about these two,
Great idea Art, I have a Latin playlist…
cheers
Hey Chuck,
I think that you should go for it. In my experience, whenever I have written something in a non familiar genre, the first few cues are no good but if you keep doing it it starts to get better. Listen to a lot of real orchestral music and study a little counterpoint. East West is good enough to get started. Good luck and have fun !!!
In the last 24 hours, I have removed all my tracks from 3 libraries. More to come… If we all act together we CAN make a huge difference. Thanks LAwriter and Music1234 We can weather this storm and we will see much better days ahead.
This is great news and one that could save our business. Excellent !!!
I have found that many exclusive libraries like to think of composers as specialists for a certain genre/style. I suggest let it be one dimensional. When you do too many styles, it confuses them. Good luck
The monetary income part depends on your requirements, for me it is an annual of about 50k. For an upcoming composer who has just started out, 10k could suffice. That also depends on what stage of the game you are in. My first year in this game, I made about 500.
In my mind, the best ways to increase your income areQuality and quantity. Keep raising your bar and work a lot. It’s easy to get complacent. Work at your strengths and in projects that you enjoy. Keep writing, even if not pitching. Make better descriptions tags etc.
Network whenever possible. Networking goes a long way, attend conferences etc
Gotta keep investing in new gear so that you keep growing.
Analyze your business periodically to see whats paying off.
Always remember how lucky we are to be doing this.
My two bits.
@LAwriter, You are talking about a show that was on cable for 10 years and earned a lot of people good royalties. The old business model that seems to be over. Today, the dynamics have changed. If a show stays on cable for even five years before switching to streaming it gives us a reasonable chance to collect royalties, which could be considered a reasonable compromise. It is the shows made for streaming such as Netflix shows etc that offer nothing. What are the publishers seeing in these shows, perhaps a good license fee of which we are getting none. I have always believed that ultimately composers are in control. Mostly, as a group, we are not business savvy. We do not see the way the corporate world manipulates us till it is too late. I, for myself, stay far away from calls for Netflix etc and control a good chunk of my catalog. My question is, what can composers do to avoid this kind of situation from happening. No one but us can take care of our interests. Also, do you see this as an American phenomenon or is it worldwide ? thanks.
Excellent thought @LAwriter !!!