[seanm]

@Tbone – I know that Microsoft has a tool called “synctoy” that allows you to select the source and destination folders you want to sync. you can select any folder in Windows as the source and your Dropbox or Skydrive folder as the destination and also configure when the (local) sync should occur.

Here’s a link to the tool if anyone’s interested:
http://www.microsoft.com/en-us/download/details.aspx?id=15155

I’ve set it up before- it works pretty slick, but I’m now pretty happy with my Mac and local backups and haven’t had a need for it.

Looks like there are some apps like it for the Mac as well- Found “GoodSync” in a search. Same principal.

[seanm]

Once I get the full mix the way I like it in my DAW session and bounce that version down, I save the session as “Song X ALTS” in the same session folder. Then I work from that session chopping, hacking and rearranging as needed until all of the alternate versions are created. As I create each alt, I bounce AIFs, WAVs, etc before I move to the next alt.

[seanm]

“Don’t be “weak handed” and justify why it’s OK to give your cues to a publisher for them to control in perpetuity for free….”

Certainly not to rock the boat here, but my understanding is that there are exclusive deals with reversion clauses of 2-5 years that are some of the options here. I also know that there are some composers on MLR that do have a a mixture of exclusives and non-exclusives with the same library. To those composers- have you noticed a difference in the amount of placements of either E or NE?

I’m simply fielding the question to see if libraries that offer both E and NE music are actually having better placement success with exclusive tracks, or, at least in regard to those on MLR.

[seanm]

A wise man once said nothing and went about his way.

[seanm]

Okay- I’m not exactly new here, but I read much of what’s written on MLR while, for the most part, sitting back and thinking about it and still learning in this business everyday. Here’s my question/thought (and maybe I’ve missed that someone has already mentioned this)-

I’ll use JP as an example-

When the credits roll at the end of an episode, I can’t tell you how many times I see “Jingle Punks” as the source provider for music for the show that just aired. With that said, why would the production company care if the (background) music JP was providing was exclusive? It seems like there’s a contract for that season or at least an agreement with JP to provide the music. If that’s the case, JP is the only one providing it regardless of the deal with composers.

I do understand that for certain placements, exclusivity is a must when it comes to certain commercials or a brand-defining use. But background music- especially in the case above where the library is the sole provider for the show/season?

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