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The definition of Jingle Punks or other libraries exclusive contract lies within the wording of their contracts. There is no one absolute definition. It can mean forever, for a fixed-term or until a certain level is reached . Sometimes they allow you to pitch your music via your own website. It depends.
However in general an exclusive contract gives the publisher/library an exclusive right to license to a third party the recording (master) and the composition for a fee. These two things are linked in this scenario. I don’t think that in an exclusive contract you can just remix the master. The composition has not changed and that is still under the exclusive control of the library/publisher you have signed with.
In the traditional publishing world the composition and the master are handled separately by a publishing company (composition) and a record company ( master ). In this scenario of you want to use a U2 track and it’s master recording you need permission from two sources. If however you want just to use the composition, the publishers consent is all that is required. I am talking in general terms here.
MichaelL will give a much more consise answer but I think remixing an existing track to sign to different exclusive libraries would be fraught with danger. However it may be a question how different it is. Could a gazoo version of an orchestral piece be acceptable. Mmm interesting discussion.
This is beginning to sound like a lot of people wandering around a casino wondering which slot machines are the “luckiest” and payout the best – MichaelL
Great analogy for the music library business.
+1
Also lets not forget that the library business is a “world wide ” one. Even though the USA is the biggest producer of TV and Film in the world your rates, both sync and PRO are smaller than other territories. Maybe to do with Cable and affiliate stations, I don’t know.
I know writers who have only ever written for non US shows and who make a very good living. For example big Saturday night shows in the UK (60 million people ) are between 8- 14 million viewers. Your viewing figures in the States are nowhere near this pro rata. Point being there are many other revenue streams, its a big world out there.
If JP has gone exclusive with their “house writers” getting preference, so be it. By all means discuss the situation in JP but also be aware that there is very little we can do about it whatever the outcome.
More than ever, in a fast changing market, a composer needs to think outside the box.
Very personal subject. I use the Soundiron Emotional Piano for slower stuff and the Galaxy vintage D for everything else. They cover the basses for me.
Michael Nickolas made some very valid observations on the previous page. Their press release regarding their new exclusive library is very ambiguous and confusing with regard to the overall state of JP as it stands now. They are clearly not communicating well with their existing composers. There is no point double guessing what they are going to do. I for one am not going to make any decisions until the dust settles and some kind of response is forthcomming.
Jingle Punks contract is 1 year only. If you feel its devaluing your tracks or impairing their opportunities on other libraries you could just withdraw them from the JP catalogue if you can.
To be fair JP have not as yet stated, what they intend to do with the non exclusive part of their library yet. I am just reading between the lines here.We shall see.
Don’t forget this also puts then into direct competition with the big exclusives who already have relationships with the majors going back years. Jingle Punks has only been around since 2008. This levels the playing field somewhat, as far as the big exclusives go.
If it really is the case that the all the major US TV networks will only accept exclusive tracks in the near future, then this scenario will happen across the board with different libraries.. How will Crucial and others handle this dilemma ?
Also as a final thought, there is a whole world of broadcasters out there, apart from US networks that use music also, they have to be serviced too.We shall see how this all pans out, either way this seems a reality for US TV placements going forward.
Adapt and survive !!!
It seems that they are saying their core clients are going to cease using non-exclusive this year, and going forward will only accept exclusive tracks. Although it is not stated, I would assume that there is little point in submitting non-exclusive tracks to them from this point on.
You now have a simple choice, submit to them on an exclusive basis or stop altogether. You can of course submit any of your existing tracks with them for the exclusive option, my guess is that the majority are placed with other libraries and would not qualify.
They have also stated that they have a new 25,000 song collection of exclusive tracks ready to go. Where this came from is anybodies guess, I have never heard of them offering exclusive deals before ?
Simply put, its safe to regard them as exclusive from now on and whether their track record so far makes it appealing to you to submit.
If they really do have 25,000 tracks already to go I would think twice about participating further as it would really put you down at the end of the pile. Interesting times all right.
I think it could be a 64 bit thing. It is not a major upgrade apparently, more a revision of Lion. It will take at least 6 months before the music software companies approve it.
“The music that works in each scenarios is very different”
Great discussion, I will always remember a film mix with the legendary Film composer Elmer Bernstein. It was a beautiful slow romantic oboe led piece. During the mix he kept lowering the oboe level so that it was nearly indistinct. When asked why, he replied that the cue was under dialogue. When we played it under the rough dialogue on the video his balance was perfect. The “soundtrack” version the oboe was up 4-5 db!!! Not only different music but a different mix approach for different scenarios. Now it is very difficult to write for all eventualities, and as is the case with commissioned cues you would supply stems too.Always something to think about when writing for TV or Film and submitting just stereo masters.
Pat:
I’ll be Damned. Forgot I also have Heavyocity’s Evolve. Ok. That’s it. I don’t need any more for now.Ha I have Damage and Evolve too, enough big banging and clattering for any track. LOL
Pat:
I bit the bullet (and I mean hard!) and ordered Symphobia and Heavyocity Damage. Not necessarily to use together. I’m also looking for an orchrstral rum type program but here’s the catch.
I don’t want a flat out loop library which makes whatever I do still have that familiar footprint, I also don’t want a program where I have to input every individual hit. That leaves out True Strike. Storm drum 2 has some loops and phrases that I can edit I believe but seems like it’s getting kind of old.
Also considering vir2 Elite Orchestral Percussion.
Get the picture. I’m not formally trained but I don’t want loops I can’t put my own footprint on. Maybe something like Damage but for orchestral stuff.
Any ideas?First of all congrats on purchase, expensive but worth it. Damage especially is brilliant, check out the tutorials on the Heavyocity Facebook page.
When you talk about orchestral drums these days anything really goes. Taiko drums aren’t strictly orchestral but fit into big “trailer” type stuff. Even though Damage isn’t strictly orchestral either it can easily fit into the big drum hit and metal percussion side of it. A big Damage drum hit in context will sound very orchestral even though its origins aren’t.
If you are looking for really authentic orchestral drums (tympani, bass drums etc) there are a few specialist libs that do this specifically. You seem to be talking about a hybrid set of sounds
MichaelL: No insults for you “Steve.” But I think perhaps that you are the one with your head in the sand or the the clouds. People have accused me of being an arrogant no-it-all, but I think that you just won the crown.
I strongly suggest that you read this… http://en.wikipedia.org/wiki/Zack_Hemsey AND watch this… http://www.youtube.com/watch?v=0JGHI4TAC5U. It was composed, AND RECORDED with a “pastiche” of midi instruments in the hands of a very talented young composer.
I congratulate you on your accomplishments, but if you believe that composers, using in midi instruments in spare-room studios, aren’t achieving major successes you need to do a little research.
Cheers,
Michael
MichaelL: No insults for you “Steve.” But I think perhaps that you are the one with your head in the sand or the the clouds. People have accused me of being an arrogant no-it-all, but I think that you just won the crown.
I strongly suggest that you read this… http://en.wikipedia.org/wiki/Zack_Hemsey AND watch this… http://www.youtube.com/watch?v=0JGHI4TAC5U. It was composed, AND RECORDED with a “pastiche” of midi instruments in the hands of a very talented young composer.
I congratulate you on your accomplishments, but if you believe that composers, using in midi instruments in spare-room studios, aren’t achieving major successes you need to do a little research.
Cheers,
Michael
Wow I always thought that was Hans Zimmer, brilliant work. A new one to show the” I only ever work with real musicians” camp. Not that there is anything wrong with working with real musicians at all. The reality is these days that using midi/samples etc is the only way to achieve this on budget. The other point is , this is not as cheap as some make out. Thousands on the best sample libraries and very computers and hard drives.
Steve I firmly believe in not judging or demeaning anyones work like you do. I don’t see a lot of complaining around here. Most of us are very realistic about how difficult it is in the marketplace. It seems with this library that everyone who has posted, with the exception of you, has had none or very limited success with this library. I have no idea what type of music the other posters have with the library as I can’t see that side of it, so how on earth can you ?
Either way, people that make blanket statements, like you do about midi/trailer music etc only really show themselves up as amateurs, and having an opinion based on the reality of 10 years ago.
Oh check out Daniel James too. He uses Ableton Live.
66 tracks/42 plays/171 views in two years, No sales. I gave up on this site awhile ago.
If you follow the link http://support.jinglepunks.com/jinglepunks/topics/the_faq_does_say_for_a_licence_fee_not_for_free
which is at the end go bigg rome’s post there is an answer from JP about this. It seems a bit disingenuous to post a question on a different forum (MLR), without also posting the reply which in a large part corrects a lot of the assumptions made by the OP.