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Well, it’s likely that there is $100,000+ that he owes, which might be difficult…

Now, he shouldn’t have taken OUR 45% in the first place to cover the fixed costs + marketing, which he DID! Instead he should have shut down immediately while waiting for external funding.

Taking our money for this breaks the contract of course and also, it can’t be legal?

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Yeah, it’s sad, but I think I’ll be sorry for him when I get my payout… He took A LOT of money with him from many, many authors.

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All right, thanks for the info! I guess only time will tell.

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I’m just now releasing some of my production music commercially as I’m very curious about how it would sell.

daveydad: you say you sell your production music better on iTunes etc. than on licensing sites. Do you do a lot of promotion for iTunes etc. or does it kind of take care of itself?

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DistroKid will have your release on iTunes within 24 hours.

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You can also release your production music as commercial releases.

I didn’t think it would sell but I know people who have quite some success doing that, even surpassing licensing income. And that’s with corporate/happy clappy style instrumental tracks.

Of course the almighty Two Steps From Hell do that as well, but I have no idea where they make the most.

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I’ve only pointed out that there are some people who write very quickly. I do not.. I used to, when I was under deadlines. I hated it.

Me too (I’m Composer J). I didn’t say that I was speedwriting, I like to take my time and the tracks always sit for at least a week before finalizing mixing/mastering and uploading.

Now, I personally don’t like the sound of corporate tracks, but there is an art to making good ones. The ones doing it well, sell very well. But there are thousands that never sell.

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I don’t know that I would call P5 a “garbage” site!

Haha, exactly! It’s my very top earner and very consistent! There may be lots of so-so tracks on there but the site is absolutely great!

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Hi Peter!

It’s very different week to week. Now for example I haven’t written anything new in two weeks because I haven’t been inspired and I’ve been reading up on a bunch of things regarding music business, ways of selling etc.

A good week I might finish a track (don’t like calling them cues) per day, but those are tracks I’ve already started. I try not to compose/record, mix, and master any track to completion in one single day because two weeks later, I’m almost never satisfied with the results.

Composing/recording 2-3 tracks in one day isn’t uncommon though, but I always let them sit so I can come back with fresh ears. Then it’s usually pretty obvious if the material is good as is, or if I need to work much more on it. Or if it goes in the trash.

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Thanks MichaelL for the quick reply.

This is the GS thread I was referring to: https://www.gearslutz.com/board/music-picture/1032613-licensing-royalty-free-music-2.html

The lengthy post toward the end in particular. I’m sure some of it’s correct for some library but I can’t really judge. Maybe he’s referring to a particular library like Getty or something?

He refuses to acknowledge AJ and the like as marketplaces just like iTunes or Amazon. On AJ you sell a music usage license. You pay 50%-64% to use their buyer traffic but you get no help from them (fair or not is another discussion). On iTunes you sell a personal listening license. Am I completely wrong in thinking like this?

IF you have time, did you get a chance to take a peak at the full MusicJar contract? It does seem like a very nice website and A&R is done by a very successful RF composer.

This wording just scared me (as well as the world’s longest sentence above it): The Writer hereby assigns to the Publisher the non-exclusive copyright in and to the Compositions and/or the Writers contributions

Thanks again!

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Thanks Art, that was quick! 🙂

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