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“More likely than not the library just decides the music isn’t worth fighting over.”
Exactly the point. But the contact needs to look professional, therefore the letterhead and a real lawyer.
An email from a composer is pretty easy to ignore. An actual document from a real lawyer saying ‘this is what we are going to do to you if you do not do this’ is pretty hard to ignore.International copyright litigators can be found on elance.com. It really is worth checking out if the music you lost is really important to you.
Hi Edouardo
I don’t have a soundclick account that I am aware.
Just to be clear, I didn’t do any of the music or sound effects for the films listed in my IMDB.
I did the computer generated visual effects. I worked in New Zealand directly with Peter Jackson on the films themselves, nothing to do with sound.
I actually created the shots that you visually see in the movies. I was a compositing supervisor that created shots, developed looks, created 3D environments, etc.
I retired from that profession in 2006, moved to Spain, and started my internet businesses.
@Music_pro
Sorry, the easy answer to your question is, my wife and I love living in Barcelona more than anywhere else in the world. That is the only reason we live here.PS- here’s my demo reel for the Jackson movies
Basically it’s a site where your credits are listed, but where are they getting the info from?
They are submitted by the production company and then edited and added to by each individual actor, artist etc. They basically get their credit information directly from the credits of a movie.
You can login and submit uncredited work as well but it goes under some kind of review.It was my day job before I started getting serious about my websites.
My visual effects career basically funded my startup businesses and our move to Spain.Here’s mine
http://www.imdb.com/name/nm0507512/I on the other hand do believe that composers get a lot out of these conversations no matter how heated. There is a lot of truth and experience in these posts Desire_Inspires.
At least it is not a one-sided thread with a few people saying ‘everything but my way sucks’ like most threads I see in other forums.@The Dude
That’s great that exclusive works for you Dude. But there is absolutely nothing wrong with the RF model, some composers do very well. Our top 5 make between $20,000 and $40,000 a year. I’m sure you are making much more than that but for many composers RF earnings are pretty good.So someone has to have new ideas so that we don’t end up selling our tunes for $30 on a website
I would fight for the right of the composers who actually are selling their music for between $25 and $100 on a website. People who make statements like the one above do not understand that you are selling a track 100 times over for $30 (do the math). Which could or could not be way more than you would ever make from an exclusive deal in 3 to 5 years.
They also don’t understand that you are selling to a market, a huge market, that has nothing to do with broadcast and is therefore unavailable or not accessed by most exclusive and retitle models.
This fact has been explained really well in this same thread many times by MichealL.Caveat- I have absolutely nothing against exclusive or retitle library type models. They are absolutely great for what they do. But I don’t think composers should disparage other successful library business models that actually send out substantial paychecks every month to their composers.
You have to look at the opportunity loss, The value of a lost chance or a potential profit that was not realized because a course of action was taken
Really well put and great advice from More_Advice
@More Advice
Makes sense to me and the model you propose is used by some libraries I work with like SW. Makes complete sense.@Mark Petrie ++1
What Mark said.Any business model, no matter how much it empowers the composer, that sends customers off to other libraries once they fall in love with a song is simply a bad idea. I think you might find resistance from libraries getting this one off the ground Richard.
Right, there is no right answer.
But Bigg Rome’s original question was answered.“Why do companies not like telling info on placements”
Because some composers have a tendency to badger clients. They are clients of the library, not of the composer. It is very important to keep a professional interface between the client and the library. It is important because these are sustained relationships based on trust and professionalism.
Having a composer pop up suddenly and say “hay, you bought my song, what’s up with dat?” would be a horrible thing to happen to any business.Not sure why the answer turned into some weird composer revolt but it kind of proves its own point I guess.
@Bigg Rome
cool.do you want to come to my party?
@MichaelL
We will be living in Los Angeles from Dec 3rd to April 28th (our Big LA Adventure)
We could even do it at our place near downtown LA if anyone is interested. It’s a huge place with a giant patio with unbelievable 360 views of LA, a grand piano, amps, everything needed for a jam session, plus other cool LA musicians, BBQ, etc.
I often do really weird things so I would totally do this.@Bigg Rome
“To figure out the things that is wrong and correct them. That’s the whole point of Music Library reporting.”The point of MLR is to point out your experiences with certain libraries. A business has every right to choose how they themselves do business. If you do not like how they do business you should not do business with them. Simple as that.
Yes, great post Art. Sounds like (no pun intended) libraries and composers should both take care in what they upload and approve.
I recently ‘fired’ a composer who was basically uploading karaoke versions of really famous and current hits, intact melodies and everything, minus vocals.
I’m old so am not familiar with current hit songs but my assistant brought it to my attention. It was strike 3 or 4 for this composer (AK) and was the last straw for me.My assistant and I will definitely be more vigilant in the future.