[Kery Michael]

The webpage is great, very user friendly and intuitive.

[Kery Michael]

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[Kery Michael]

Hi, beatslinger. Ok… So the first bullet point, not sure how that’s different from a music library. They also house a lot of content for their clients to choose from? Right?

The second bullet point…. they keep in-house talent? Exclusive?

Either way, I don’t know if I’m just looking at the high end ones, but there’s a fair number of national acts to be found in some of them. That makes me feel like they’re not going to take a second look at me.. smh.

Oh… and let me add. A lot of them expect you to be a fully developed artist. With a bio and albums and release dates, even touring. So there looks to be an emphasis on “artists” vs “song writers”.

[Kery Michael]

I’ve always found Jesse’s videos to be informative, though I’ve never signed up for Sync Academy. Marlon Gibbon’s videos are pretty good too, he does a good job just talking about the “basics” of the business.

[Kery Michael]

oops. no delete post option?

[Kery Michael]

Overall, I really liked it and that build up at about 1:45 is done well. But what @Mark_Petrie was saying, it’s so hard to get that full, lush sound of pro trailer music. Though people often slam trailer music as predictable and boring, but when it’s done right it can really hit you.

As an example, I’ve been listening to Thomas Newman’s “The Night Window” from the 1917 soundtrack. Though I don’t think it’s exactly trailer music but I have no idea how to get that full, lush, polished sound!

[Kery Michael]

There’s also this lovely article, it’s more of how Netflix doesn’t want to pay out for music. As well as how it hides its streaming numbers, so how it one supposed to calculate royalties when you don’t know how popular a show is?

https://www.hollywoodreporter.com/news/tv-film-composers-say-netflix-streaming-services-insist-buying-music-rights-1261940

[Kery Michael]

Makes sense to me. If I can’t sell something than do I truly own it? Maybe that’s evidence that you don’t own any of your software. but the companies are just allowing us limited access to “their” software.

[Kery Michael]

I figured that it was something like that. I know that a lot of libraries go ahead and add your music to AdRev. I just thought it was strange that a library singled out just one other library, saying “No songs from that library allowed!” Maybe that library is a particularly bad offender?

[Kery Michael]

Thanks. Just downloaded!

[Kery Michael]

I thought that the mixes sounded professional and polished. A little minimal, but I think that’s the point. You have some really nice accents happening in the background.

But after reading the previous posts I guess that means I got to learn to! LOL. The advice meant for you, I’ll take that same advice. I’ve never tried to break a reference track down to that level of detail, but I can definitely understand the benefits.

[Kery Michael]

That build at the end is really nice. I thought the composition was strong and well done, but the mix was a little muddy. Emphasize the low end and clean up the mids and I think the song would really open up and sound more full.

[Kery Michael]

Signing an exclusive deal in perpetuity where the music library/ publisher takes full control of the compositions and sound recordings (Masters) for $0 compensation up front is typically a terrible deal.

Perfect! Thanks that’s just what I needed to see. I’ve got an album of decent enough material (IMAO) that I’m trying to shop around, trying to get into my first EX library. I’m looking through stuff right now trying to find two to apply to. I will definitely keep your words in mind. Several of the libraries I’m looking at say that the contract is in perpetuity! I think I’ll avoid those.

I like your setup, thanks for sharing. Sounds like you found a nice sweep spot. Which I’m sure came from many years of hard work. I’d like to get there someday, but I’m not holding my breath. Because of subscription services and streaming rights, everything seems to be in a total flux and it all feels up in the air. We’ll see where it all lands in the years to come.

In the meantime I just like music, writing music, etc. I’ll see if I can make some money before all music everywhere is completely de-valued.

[Kery Michael]

Wow! Those sound great. I like your short video on sound design, makes it look pretty fun.

Welcome to the website. I’ve found lots of helpful stuff here.

[Kery Michael]

Thanks, Mike. I appreciate your time and all the information in your reply. I get what you’re saying. Here’s what one library has on their website:

If mutually agreed upon, <the Library> will enter into a Co-publishing agreement with you on an EXCLUSIVE basis (Song basis only, but required to meet a minimum), where <the Library> will own 50% of the copyright and administer 100% of the Publisher Share based on Worldwide, in Perpetuity. This means that the music will only be available through <the Library> and all licensing will go through us. On Performing Rights, <the Library> will receive 50% of Publishing.

So this is what made me go around searching co-pub deals to see if this is the norm. And from what I’ve read on the internet (and of course it’s all true!), it’s standard to split the copyright 50/50. And in this case in perpetuity!

I guess I’m just trying to get me head around it and try to understand whether or not this is the accepted practice. If it is, I can’t imagine signing any EX, in perpetuity, contracts. You can kiss those tracks good bye. Unless there’s great up-front money, and/or the promise of great backend.

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