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Music1234, let me say that this is exactly the attitude that is ruining and spoiling our business.

I’m so sad to read “music is competition”. Dot. I can’t stand reading “keep your lips sealed tight” or “keep it to yourself if you’re succeeding”.

I’m not a naive composer, I’m making this for a living since 2007 and yes, I’ve worked my way up from being a student to teaching in a music academy and now composing full-time here in Italy.

I’m not saying that we have to help people that are trying to find a loophole. But do you really think that by helping your colleagues you will be disadvantages? For once in our lives, let ONE thing such as music stay away from this “code of silence” approach. Making great music is just a tiny tiny tiny part of our job.

I think I’m gonna say this again because this is THE point: making great music is just a tiny tiny part of our job.

Are you scared that if you help people, they will steal contacts from your roster? In order to work consistently (and that’s my greatest advice to you, huge) you have to be a polite, professional, well-educated, nonegocentric, prepared and enjoyable person to have around. So do some research on this great website, lock yourself in the studio, work hard and please, stay away from this conspiracy of silence. If you can do your job, you won’t be disadvantaged by helping others.

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Maybe Granular Synthesis can help you out 😉

https://www.youtube.com/watch?v=yynaEmmCuq8

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Herman Miller Aeron Chair…my back is asking for it.

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Thank you Mesa Sand Music for your response.

I’ve been working with music libraries for many years now. This album was specifically created to stay outside of them and to try this new road for me.

I totally agree with your 4 points, especially referring to editing, searching here on MLR and web presence. But as I said these tracks have been composed without a licensing-compliant style of writing.

I’ve decided to go with SymphonicDistribution due to the “soundtracky” flavour of the songs and due to their licensing service. They also allow you to upload your tracks on Bandcamp as well.

Hope this helps. 🙂

Have a great day everyone!

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I’ve found two recent articles that might shed some light on this

– http://aristake.com/post/cd-baby-tunecore-ditto-mondotunes-zimbalam-or
– https://heroic.academy/indie-musicians-guide-to-digital-distribution/

but anyways I still have the doubts of my opening post.

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That’s great. Thanks Audiosparx

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Hey Lee, each track uploaded to Audiosparx will be automatically uploaded to Radiosparx?

Thank you.

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Thank you very much Lee! 🙂

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Thanks for all the replies. So many interesting points, thank you!

Why would a non-exclusive RF company register tracks with a PRO? They have no stake in collecting writer or publishing royalties. Am I missing something with AS?

As far as I understand non-exclusive or exclusive RF is not a synonym of “we will not collect performance royalties via your PRO”. Am I right?

Additionally, please bear in mind that if you are affiliated as a composer with any society in Europe, South America, Canada, and certain other countries, your society controls the licensing of your public performance rights on an exclusive basis.

Thank you Lee. For “society” you mean PRO, right? So basically, since I am affiliated with the Italian PRO, I’m limiting the potential exposure of my music. In which way exactly?

If uou are saying you already have the 12 tracks, and that is all you have, you may want to go with the exclusive – 12 tracks is barely a ripple in a huge royalty free library.

This library offered me to sign an exclusive contract for 12 trailer tracks. I have currently more than 200 tracks on my catalogue. I’m trying to figure out the smartest way to proceed in order to distribute them and investigating the “best” libraries to work with (even if I know there is no such thing as the best library).

Coming back to my original question, I asked this because, let’s say I’ve decided to deposit autonomously the tracks I’ve just submitted to a library via my PRO website. During the online procedure there is a drop-down menu asking:

IS THIS TRACK WITH OR WITHOUT PUBLISHER?

and here I go in Kernel Panic. 😉

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Focusing on quality over quantity can open up that world of high end licensing.

Even though I’m still at the beginning of my career as a library composer, I want to believe in THIS approach. Thank you Mark.

To get back on topic, good to hear that budget like that are plausible for hit songs. And yes, in the video she’s referring mostly to artists like bands, singer songwriters.

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Do folks here master to the EBU R128 specs and ,if so, do you adhere to the recommended -23 LUFS level using a meter?

+1 I’m interested too

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Maybe if you’re about to upload them on Soundcloud you’d better add a watermark to your tracks so to protect them from piracy.
Another option might be uploading them in “private mode” and send them the secret link.

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Thank you matt! Do you happen to know if this utopia might happen also to a non-US composer?

Any hints about my second question (getting royalties each time a commercial is aired on TV)?

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Happy to see that the skepticism I felt while watching the whole series of video is confirmed by both of you. I know other 2/3 people that are becoming quite famous pursuing this road on the web.

To stay in topic, after speaking with many composers (I’m not obviously referring to library music), I saw that an average of 1000$ per minute of music is the most common practice. When speaking about TV placement that amount doubles. When, instead speaking about smaller clients and/or indie it can go down to 500$/minute or even less.

Do you agree? What’s your experience?

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If you’re shopping to exclusive libraries, you won’t want to register with BMI before submitting

Could you elaborate a little more on this please Michael? What has author copyright protection to do with the deal exclusivity of a track with a music library?

Thank you! 🙂

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