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I only have experience with the former and also some non PMA exclusives that will take exclusives on a track to track basis and not on a project basis. No experience with “Formerly retitled” yet.
I have a bad habit of wanting holding on to all the rights of tracks that i really like, self defeating in a way but has worked rather well for me, getting me same very good NE placements. If you browse through some libraries and see their best sellers, they all seem to have a commercial feel to it. Easy melodies etc. The ones with more character dont seem to do that well, thats the rule of thumb I follow. Many exclusives will give you specific instructions on what they want.
Hello peeps 🙂 I was wondering why some libraries prefer WFH contracts whereas others do an exclusive pub agreement. Is it because in a WFH the copyright automatically goes to the publisher without there having to be transaction of sale. So then, is a WFH the same as assigning copyright to the publisher? Thanks in advance for your thoughts.
Wow, the overall trend seems to be one of declining RF sales… i guess the market is getting very saturated with new music and the demand does not seem to be picking up. I totally agree with @Glen regarding the styles that do well in RF land vs TV. Keeping that in mind, I am going to start withdrawing tracks from libraries that have not been performing. Hopefully it will reduce the glut in the market. I used to have the philosophy of “Whats the harm” or “it may just sell, you never know” but there is a harm because of this glut, which is devaluing your own music. The future is with the exclusives, but what do you do with the tracks that are not good enough for the exclusives ? for me, most of those missed tries end up in RF land. I suppose the thing is to withdraw from libraries that are not working, given a reasonable length of time.
Yes sales have been very good on a couple of RF sites over the past month or so. Ex placements have been good too 🙂
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Hello people, i was wondering if any of you could provide me some insight on buyout rates for work for hire tracks. I am sure there is a wide range but any kind of experience would be helpful here as this is my first deal of this kind. I would not want to appear greedy, or on the other hand, be taken advantage of. Thank you
I once used good contacts too early in my career, when i was not and my work was not up to the standard. Dont make the same mistake, first make sure you are at the level or wait till that happens and keep networking in the mean time.. Also do research to make sure that you are giving them what they need. Contacts will give you a leg up but no professional would compromise their work to please a friend.
Thank you P-9, that really is very very useful information. If all these three PRO’s use TMS, how would you compare them in terms of accuracy and fairness of their reporting. It has been claimed many times in this forum that BMI has a better payout than ASCAP, would you agree with that ? Thank you 🙂
Just saw a cue sheet this morning 🙂
I believe the RIAA is spot on. The entire system is getting obsolete and it really needs to be redesigned. This could mean substantial benefits if we could see some figures here and get a better idea of the numbers involved.
Just came across this post. I have to be honest I have never quite really understood Sound Exchange but this is very intriguing.
Any experiences anyone would like to share. Thank you
I dont like working with templates… for me it restricts creativity. I realize that it adds to the work but i prefer choosing every sound from scratch each time. It allows me keep my mind open… but then again i am not doing full blown orchestral stuff everyday.