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May 13, 2022 at 12:56 pm in reply to: How long did it take you to reach 4 figure PRO payments? #39736RM90Participant
Thanks for the input guys! I’m not giving up of course, just wanted to see what kind of trajectory makes sense. Also Music1234 I’m not talking about 1 placement for 4 figures, I’m talking about an entire PRO statement. I did get lucky early on with a single UK commercial that paid between $400 and $750 per quarter for over a year. That track made more that year than my entire catalog has each year since lol. I also admit that for almost 2 years I was doing non-exclusive libraries, so my exclusive career is probably 2.5 years in. I definitely have some libraries that are right for me too, just need to keep feeding them.
RM90ParticipantYou can always add yourself as a credit under “additional music” too.
RM90ParticipantHey Richlisa, hoping I can be of some help here. One piece of advice I can give you for finding an appropriate library for your music is to browse some labels on major publishers’ websites (APM, Universal, BMG, etc). The labels on those sites are often broken up into niche styles and types of usage. Some specialize in sports placements, pop music, ads, tension, etc. Listen to their music and see if your music might fit.
As far as doing research on MLR, it does take a lot of time and most likely can’t be done with a trial version. There are still a decent amount of composers active on here that will chime in, especially when something big changes in the business. After you get started in this business and learn the ropes you will find that you don’t need to come on here as often (a lot of the experienced and busy composers are in that boat).
Lastly you will probably find that a small percentage of members on here like to spread negativity. My guess is that a lot of them are angry that this business is more saturated than it was in the “good old days”. Don’t let it get to you, plenty of composers are making a living, even today. You didn’t do anything wrong by asking this question and I encourage you to ask away on here. Good luck with everything!
RM90ParticipantThis has happened to me before, I believe they were just doing maintenance. Give it a few days and hopefully it will work again.
January 19, 2022 at 8:41 am in reply to: Libraries for placement (not RF) of instrumental cues #39430RM90ParticipantCrucial and Tunedge are the only such libraries I can think of.
RM90ParticipantIn my experience, instrumental tracks place more often. Only certain shows and commercials use vocal tracks, not so much reality TV and sports. That’s not to say that it can’t be successful though. I’ve seen vocal albums on APM and other sites. I have a few vocal tracks in NE libraries that have done decent. Personally I would try to get that kind of music signed with Crucial or Tunedge or someone similar, since they seem to specialize in that. Another thing to consider is that the shelf life for pop might not be too long.
RM90ParticipantI had the same issue, it happens somewhat often. Most of the cue sheets returned today though, along with some new.
RM90ParticipantI recently submitted some messages on ASCAP for placements throughout 2020 that never paid. I’ve been doing production music for over 3 years and have yet to get paid from ANY US placements through ASCAP. One surprising response was for a show on CBS, they said there are no eligible performances. Is CBS part of the survey system? They said the same for a show on Nickelodeon, which is what I expected for that. I’m otherwise trying to hunt down cue sheets for other placements that I’ve had. Anyone have a similar experience or any tips?
May 17, 2021 at 12:42 pm in reply to: (debate) very well known music libraries are not necessary the more profitable #37985RM90ParticipantFor me the big libraries have been the best (Universal, APM). Everyone has different experiences I guess!
May 8, 2021 at 10:16 am in reply to: Remember When ASCAP cried about declining revenues, late checks after COVID? #37882RM90ParticipantDidn’t get mine, it must be next week.
RM90ParticipantUsually you need to let the publisher know that you want to terminate the contract before the end of the term. As for going non-exclusive to exclusive, they most likely won’t do that. Exclusive libraries want tracks that have never been published.
April 7, 2021 at 6:01 pm in reply to: Submitting to labels that are part of major publishers catalogue #37664RM90ParticipantHey Wall_E! When I submit to these types of libraries I like to do some research on a specific label and see if they have their own site with contact info. It is definitely a better strategy than submitting to the generic emails. See if you can find the label manager. Hope this helps.
February 18, 2021 at 8:46 am in reply to: Is this Scenario Possible? Non-Exclusive to Exclusive Overnight? #37380RM90ParticipantI highly doubt that would happen. They wouldn’t be able to enforce exclusivity if the music was already in other libraries. Not to mention the people who don’t get the memo and leave their stuff in other libraries. It would create a huge mess for the library!
RM90ParticipantGood topic! I know some fellow composers who have their own programs where they teach these skills to aspiring sync composers. I don’t personally do it, but these programs are popping up all the time. You could go the route where you teach the basics of the business for money. A lot of fellow musicians ask me questions too, and I’m happy to help. I don’t give them specific libraries usually, but I will tell them how they can submit to libraries. A lot of newbs run when they realize how much work it is and how patient you need to be!
RM90ParticipantI don’t think there is a library specifically for that. Christmas music is in demand every year from basically every library though!
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