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If it wasn’t sampled then I think it’s very bad form for sites to be saying it was. Like the “whosampled” website has me understand it that way.
Also MichaelL: that Amen break video is absolutely bonkers. I remember seeing it a while ago and thinking but.. but.. that break is on like 1000s of tracks AND it’s even on royalty free drum loop packs which state “our beats are 100% royalty free”, and I’m talking big companies too.
I think that one is a really, really extreme case though. I wonder what could even be done about it now.
Is the beat in Price Tag an actual sampling of Zimba Ku?
I see some saying it is but I can’t quite tell.
Oh and also what happened with that Gaye/Williams one? Did it get appealed? Is that even possible?
Hey Kiwi,
It sounds like we have quite a lot in common. Do you have an email I could contact you at? Feel free to send me a PM if you want.
You say you won’t be able to submit the track to anyone else, not just you won’t get backend from this?
So:
a) They want bespoke composition
b) They want total exclusivity in perpetuity, probably in all territories
c) There is no backend everNormally I would charge about $10,000 to $15,000 per track in these circumstances. If this was for a big advertisement, that would be LOW! And that is because I know that if I just submit the same track to libraries I will over my lifetime, on average, make at least that much.
However, if you think you can churn out a suitable track for them in not much time then lowering the rate would make sense too.
One thing that could make this worth your while: non-exclusivity. If they don’t want to pay $10k, fine. Then don’t agree to exclusivity. Grant them a non-exclusive license to use the track and then put the same track in libraries. In that case, charging like $500 seems much more reasonable to me.
As for contracts – yes, you definitely need something otherwise you’ll find you get emails with “oh can you send me this stem but twice as long and without that swooshing sound by the end of today???” over and over without being able to charge for your time without seeming like you’re being difficult. Don’t sell yourself short!
MASSIVE DISCLAIMER: I don’t know where you live, what your situation is etc so my numbers are just mine.. When I started out I did custom work for $60 per track! But I did retain all rights and put those tracks eventually into library. They went on to make many multiples more down the line so I can’t emphasise enough how important it is to retain rights to your music when licensing to a one off company with no backend or further licensing.
Good luck and let us know how you get on!
Ohh interesting about Audiosparx, I had always understood that incorrectly!
But yea, I agree with SCP, stay away from NE with those tracks. That would be my advice. Go for some high end exclusives.
No I meant that the last time I checked Audiosparx’s website it said that they would not accept any composer who had any tracks on Premiumbeat.
It’s nothing to do with having the same exclusive tracks.
Read this:
https://www.audiosparx.com/sa/publisher/agreement.cfm
“Additionally, in order to help our artist community from having their music devalued and avoid a “race to the bottom” pricing mentality, Licensee disallows Licensor’s participation for any Works to be sold at AudioSparx from being offered for license at “bargain basement pricing” stock audio sites including the following:
AudioMicro.com
Rumblefish.com
Stock20.com
AudioJungle.net
Oak Stock Music Production
SmashTrax.com
RoyaltyFreeHeaven.com
PremiumBeat.com
123RF.com
Neosounds.com
Luckstock.com
Stockeon.com”Last time I checked Audiosparx says on their website that they don’t accept composers from Premiumbeat.
Nice tracks by the way.
OverDub.. those are some pretty decent $/min rates there. Which country is that? US? Which exact Discovery channel? Their main Discovery one?
Pretty similar for me… mostly foreign royalties.
Hi sniper22b,
When I started out I had a ton of questions that sound like yours now. I remember how stressed I used to get. Some pieces of info which might help you in the future (besides that Scripps don’t pay backend):
1. Even if a work is unregistered with the PRS, you should and normally will get paid your backend as long as your composer name is attached to a cue sheet somewhere. I have had this happen to me at least a few times and always been paid in the end.
The track then comes up as ‘unnotified work’ on the PRS and you can call them or email them to get it fixed.
2. Some channels in the UK are done on ‘sample’ reporting. This means that that the PRS only takes a sample of their total shows and music and pays only those. This can sometimes be amazingly unfair. Like if you have a track in a show which airs a lot but is never in a sample you get nothing. The rest are done by ‘census’ which means every last thing is reported.
3. Foreign royalties usually take between 6 months and 2 years to reach you at the PRS. US royalties for me take 6 months from the date of the US distribution. Not from the date of airing. So from an airing in the US it might be a year till you see the money.
MichaelL: haha, yea.. I’m kind of reclusive so don’t get on too well with those meet ups.. But it definitely can work as has been said.
Just to give another side to the experiences: I got into a couple of the top libs by emailing a demo soundcloud to one of their labels. In fact, now I think about it most of them I’ve never met in person.
Yea, it’s also best to call them up if you can beforehand to ask what they’re looking for. But otherwise just email them.
There will be tons of overlap.. just ignore it as you go along. All the best.
Getting frustrated is part of the deal… if it was easy then… haha you get the idea