[JD]

I think Music Expressions is related to Crucial Music

[JD]

Thanks Art,
Should have done a Google search first before posting the question but thanks for your thoughts.
JD

[JD]

Thanks Advice for your reply.
The owner did mention there would follow a schedule A so I guess that will be after the tracks have been retitled,
I was just unclear whether the schedule A would be only for any exclusive tracks I submit in the future.
If you have seen similar agreements then it sounds fine to me. I guess every library has a different working method.
Cheers. JD

[JD]

Thanks Advice for your thoughts., they more or less tally with mine, good to know I am on the right track. As the music and lyrics are completely written (have performed the song multiple times) it is unlikely to need more than the tracking of the instrument(s) mentioned so a writer split shouldn’t be needed in this case.
Much appreciated!
JD

[JD]

Thanks Advice and other responders,
I have now answered with full disclosure tha name of the current NE library, I appreciate all your thoughts and am comfortable with my decision, couldn’t see any point withholding the info.
Just now awaiting a reply from the library.
All the best. JD

[JD]

Thanks to everyone for your helpful comments.
I know my friend is not a musician’s union member (not trying to take advantage of him because of this).
I am glad to know that a solo from a session musician would not require giving away a copyright share and I don’t think he would expect one. For this song I will probably have the solo melody based around the lead vocal one as the more I think about it, I realise that that is what will work.
I would of course get him to sign a release form which I think is the UK equivalent of a WFH form in the USA.
I have signed such a form here when I have done sessions and have understood it to mean that I have no future claim of further payment and that I have been paid a stated amount.
I gave up my own Union membership last year as I found that subscription was costing me too much for what amounted to the included public liability insurance (while doing gigs etc). I found the same cover independently for much less (and from the same underwriter). I did use the union legal advice a couple of times to check out library contracts but learned how to understand them myself through that. I also found that the unions understanding of the typical library contract was not so helpful as they came at it from the direction of a commercial or record label type deal so the advice was not always appropriate to the music library deal I was considering.
Regarding a session fee for my friend I think the best approach is to be clear about what I want him to record, agree on a fee and get him sign the release form on completion . If the session ends up taking longer then pay him more. I will probably offer around £100 for 2 instruments (plus a bit more for travel costs to get to my studio) which I think he will be happy with but obviously negotiate a fee that both of us are OK with.
He is a composer himself and has had his work in a film (in Latin America I think) and also performed here in the UK. I have been urging him to join PRS which as yet he hasn’t done,
Alternatively as suggested above, we could agree to do a favor for a favor if he needs my skills (guitar /vocals/production) in return for the session. I am sure we can work out the best deal that suits both of us.
Thanks again for all your thoughts which have helped me get clarity on the topic.
JD

[JD]

thanks Boinkee2000, I think the same approach for me would be good. Right now I am not with any RF libraries , 8 tracks with 2 EX libraries (no money yet) and the rest with a good Nonex library which gets some good TV placements and a few films. My main aim is to increse my catalog to give me more choices and to feel less precious about my tracks. Most of the tracks that have got the best placements are with vocals and that seems to take me a lot longer as obviously I need to write lyrics, sing all vocals and harmonies along with all the other usual requirements i.e. programming and recording live instruments, production and mastering. My aim is to write more instro’s and expand my genres. I do love it but often get into the music itself and neglect some of the research and admin that I also need to allocate time to. I find that gigs and teaching guitar eat into my available time but are currently necessary to keep the cash coming in!
cheers, JD

[JD]

thanks Boinkee2000 for you valuable thoughts, I get what you are saying, I think now that, particularly for songs that have multiple placements in good paying TV and film broadcasts. that unless I am contractually forbidden to do so, i should aim to generate the most possible income from them which will include RF libraries. I have learnt a lot from MLR and one thing I think is clear is that some very good composers are all playing the field and have their songs with a range of library business models, why leave money on the table?
I am still not keen on EX contracts but as my catalog and output increase I will feel more comfortable siging stuff to (the right) EX libraries, it seems that there won’t be much choice to do that in the future.
thanks to everyone for you very helpful words. JD

[JD]

I have some tracks (with vocals and separate instro tracks) in a nonex library that I think have worked well for me. If I understand above posts correctly, would you be comfortable submitting these same tracks to RF libraries? If there are no concerns about competing with myself then that would give me more options of material to choose from. Of course the ultimate answer is to simply create more content but while I am working on that it could be good have some of my proven earner songs in RF libraries to maximise their potential.
Thanks, JD

[JD]

Thanks Boinkeee2000,
I haven’t yet ventured into RF libraries but if there is money to be made I will be stepping into that arena very soon.
I understand why some ne libraries don’t want to have the same tracks that are in RF libraries, do you think that doing so is effectively competing with yourself? A client could find the same track for typical RF fees which could be less than those quoted by NE libraries.
I don’t know the answer so am interested to get opinions on this, although I am deviating from my original post topic, any thoughts would be very useful.
If I could use some of the tracks I already have in a NE for RF libraries it would increase the content I could make available. I am sure some of my questions have been answered elsewhere on MLR so apologies if I am repeating what has already been asked.
JD

[JD]

Thanks Art and LA writer for your helpful suggestions.
All comments have helped me in my decision to be open about the current NE library the tracks are with, (it is not RF), I think being open is a good way to start a new possible working relationship and to have or create more tracks to offer. Thank you all so much!!
JD

[JD]

Thanks Michael for your reply.
I agree that it would not be a good way to start a working relationship with a new library by being evasive, I have a strong feeling that the EX library owner would be familiar with the NE ibrary my tracks are currently with as a composer himself.
I don’t think the 2 libraries operate in the same TV genre territorios so it may not be a problem to have the tracks signed NE with both libraries, ultimately it depends on whether the EX library is happy to sign the tracks NE as I am reluctant to withdraw the tracks from the current NE library. they are with.
What occurred to me is to write some more material that I could offer the EX library though overall I prefer NE deals. I have about 8 tracks with 2 exclusives and although not many tracks in total, I have not had any action with any of the tracks despite a few of them being with one of the libraries for over 5 years..
Your thoughts Michael and any other suggestions are much appreciated.
JD

[JD]

There was a recent interview on Taxi TV with the owner of a library specialising in vintage recordings. I can’t remember the name but you should be able to find it on YouTube.. Good luck
JD

[JD]

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[JD]

Hi folks,
Just giving an update on the thread I started a while back.
Things with the student I described above are working out well for me.
I asked her if the songs were already written (which they are) so we agreed that any guidance I give on pronunciation/accenting in Spanish would be as a ‘consultant’.
We agreed that this would charged at my hourly teaching rate so now we do 1 hour guitar class followed by 1 hour consultancy on her songs.
I and she are happy with this arrangement, no problems so far.
All the best.
JD

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