[Musicmatters]

Sounds good !!!

[Musicmatters]

@music123 and @LAwriter, i really do agree 100% with both of you but IMO i think these expectations are not realistic. The PMA does not need us, at least not right now. They are very happy with the writers they already have and they have plenty. It seems like the PMA is trying to expand and bring in more members and dues etc. In my observation, the PMA does not dictate to its members what kind of deals they should make with the writers and these deals are all over the place. There are even many smaller PMA members whom we would not consider in most cases. I am actually surprised that the PMA is reaching out. It seems maybe things out there are changing slowly for the better but i doubt that they will invest in us. There is a lot of inertia trying to maintain the old status quo but eventually they will come around.

[Musicmatters]

Thanks for posting. Most people here would love to work with more libraries as I would myself and I will be attending the conference as well. I think the biggest hurdle between this group and the PMA is the Exclusive vs Non Exclusive model. Often, at PMA events Non exclusive licensing and re-titling is looked down upon which makes many of us uncomfortable. Maybe the PMA should begin to accept that as a viable business model, specially for composers who are starting out. Also, many of the good PMA libraries remain totally inaccessible, maybe you could address the issues surrounding that. Thanks again

[Musicmatters]

Frequent start and stops to the music will help. Keep in mind harmonic resolutions, cadences and that sort of thing. Try to think in phrases and try to give a moment of silence between phrases. Hope that helps 🙂

[Musicmatters]

Thanks for your input @maxpower I was looking at the ecommerce package and was assuming that you could use that for licensing purposes as well. Any idea about that ? thanks. I will check out the rates at sourceaudio. I know it makes sense for bigger publishers but perhaps sourceaudio has a package for composers too…

[Musicmatters]

Hello guys. I believe that direct licensing is the future, my RF sales have consistently grown whereas backend has not. I am hardly fishing for ex deals as they are not offering upfront anymore and without a share of licensing it makes no sense. I agree with Alan that composers are the ones with all the cards, we just dont realize that and we all need to come together for that to happen. I believe that A level libraries are very happy dealing just with their established composers who they probably take care of well and will only take on new composers on their own terms, not worth it. Also a point to note is that many composers are underselling themselves on many RF sites and thus not realizing the potential of that.

[Musicmatters]

I have all my tracks including loops and stingers set to no less than 60. Sales have been good, I have experimented with bringing it down to 40 with no improvement.

[Musicmatters]

Thanks @MichaelL. I was hoping you would chime in. So this is what i gather, practically, they are the same as in both cases you have lost control of your music, forever. However, for a WFH, you have a good case for asking for money up front but does not mean you will get it and this explains why many WFH agreements have a trivial amount written down.

Is there an advantage for the library in the WFH, it may have to come up with upfront money ? Should composers encourage or discourage this practice which seems to be gaining ? I have found that many exclusive libraries are now using WFH agreements

[Musicmatters]

This explains it quite well

http://www.ascap.com/uppm

[Musicmatters]

Try meditation, just a few minutes of silence and turning yourself off. I have found it does a great job of cleaning out the rubbish in my mind.

[Musicmatters]

Hi Sabalsounds

For non ex i will send at least 50 good cues and give them a couple of years. For Ex, which i do less of, i would send about 25 and give it the same amount of time. I would not submit to a library that is unresponsive,… highly unprofessional and even disrespectful imho. I might not even work with them, unless they have really proved themselves in the past. Hope that helps

MM

[Musicmatters]

More consolidation and monopolizing in the industry… but how does this deal affect us. It would probably affect people already working with 5A and dry up the ex market even more. Any thoughts ?

[Musicmatters]

All in all, i think exclusives are getting less attractive as time goes by. I would rather take my chances on the non ex/RF side. Many more options there. There are some smaller exclusives that are sharing license fees which is not a bad deal. Personally, I would not sign an exclusive deal unless there is decent upfront money ($300 per track at least) or they have a huge presence or reputation, only a few of the PMA libraries have that. The rest are smaller boutique labels. In the future things look like they will change dramatically as people move away from broadcast to streaming. YT and content ID etc will become more relevant for us as time goes by and we should look for ways to exploit that in a sustainable way. Sorry for the digress 🙂

[Musicmatters]

Hi wall E

I don’t see your concern here. As long as you own the track you are free to post it wherever you like. Many of my RF non exclusive tracks are on Soundcloud as well as some exclusive tracks as well, for which you will need permission from the publisher to whom the track is signed. I hope that helps

[Musicmatters]

Hi Carles,

Your music is of exceptional quality, both in terms of composition and production. I would agree with Mark 100%. Your music is very well suited for trailers and you should give it a try. All you need is a little patience and a thick skin. 🙂 Publishers can be very difficult to work with and there is a flood of music in the market but I have always believed that good music will rise to the top. Your sounds are very impressive, if you don’t mind sharing your virtual instrument selections. Thanks and best of luck

[Author]

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