1,729 thoughts on “General Questions”

  1. Hey guys!

    For all of you who is affiliated with BMI, can you see your statement on your member area already? for the 01.13.12 distribution.

  2. Hey yall. Doing a search on this, I expected more discussion about these question – Im sure this has been done before , but couldn’t find any threads dealing with the topic. The only reference is the poll. So, here it goes, apologies for being too forward.

    1) Do you make a living doing this/How much do you make working in library music?
    2) How many exclusives/non-exclusives do you work with?
    3) Do you make more in royalties or license sales?
    4) How long have you been doing this?
    I’ll start

    1. – No. Probably around 7-8 thousand last year. Should be more this year, hoping for over 10 thousand US..
    2. – 6 exclusives, 6 non-exclusives.
    3. License sales – haven’t received a royalty check yet.
    4. One year and 4 months.

    • What ratio exclusive to non-exclusive, i.e., how many tracks in each?

      Exclusive as in “have their cake and eat it too” exclusive OR did they pay you money up front?

      To answer your question: at this time 99% of my income comes from writing and publishing for television. The bulk of my existing library tracks are from the 80’s and 90’s and have run their course. I’m just starting to “upload” new tracks, renew exclusive library relationships and make new ones.

    • It is a bit embarrassed to say this…I have 35 tracks signed to exclusive and non exclusive libraries for almost a year but havn’t gotten any placement. I wonder if it is typical.

    • 1. Between writing and performing I made around $30k last year compared to $18k in 2010 so things are looking up. 2/3 of that is from libary placements and 1/3 from gigging with bands.

      2. I have music in 1 exclusive and 8 non-exclusives.

      3. I make more in license sales but the royalties are starting to grow thanks to jingle punks.

      4. I started in 2008 so about 4 years now. I have around 350-400 tracks.

  4. A Big Congrats Alan! You must be extremely happy. This could be the turn around point for you. Glad to see somebody enjoy a moment of success. I hope you have many more.

  5. Hi MLR-ers!

    Great news I though I’d share. I have been writing library stuff for 13 years and never had much success until this week. In the past 2 years I have uploaded 3,349 tracks to various Royalty Free libraries and this week I got my first placement on the ‘Welsh Recreation’ channel in the UK in the show ‘Where Have All The Sheep Gone’ – a welsh programme about the decline of sheep farming in Snowdonia presented by Welsh TV legend Glynn Thomas.

    It’s great and certainly bodes well for the future. I put this particular success down to detailed tagging. My track was a trip-Hop underscore so I intend to do more in this style from now on.

    Shows there’s opportunities still out there for the right kind of track.

    • “In the past 2 years I have uploaded 3,349 tracks to various Royalty Free libraries”

      Congrats Alan!!!…. not only for your placement, but for uploading almost 5 tracks per day, plus doing detailed tagging! When do you eat, sleep and find time for bodily functions? And, with all those tracks have you made money other than this placement?

        • I suspect that “Alan” is pulling the “wool” over our eyes, while poking fun at people who earnestly upload a copious number of tracks in the hope of getting placements.

          Maybe not, but my BS radar says it doesn’t add up. There’s more than a bit of sardonic wit going on, at the expense of “royalty free” writers.

          What say you “ALAN” ???

    • I think I may haves sussed that Alan from Norwich is indeed a well known Tv and radio personality called Alan Partridge, who over the years has turned his considerable talents to many different media ventures. It was only a matter of time really before he entered the library music arena, as this is one of the few areas of show business is considerable talent hasn’t reached yet. If you google him you may get some of his iconic performances still on YouTube. Either way welcome to the MLR Alan.

  6. “In any event I do think it should be in the open so my choice is a forum. ”

    I agree on that. I’ll be curious to hear their answer.

  7. Do all Scripps network channels not pay royalties? Or is it just some of them?

    I see that Travel Channel does pay royalties and they are under Scripps.

    I was wondering if The Food Network does or not.

      • Thanks Art, that’s what I thought. I just saw on The Jingle Punks Blog that they supplied most of the music for a new show on The Food Network, hopefully there will be at least some sync fee’s for the composers, but probably not.

        • I just left this on their support forum.

          “I noticed that JP is placing music on The Food Network. It’s been my experience that Scripps Networks do not pay PRO monies. Can you clarify please?”

          You might do the same.

          • So does this type type of placement fall under gratis.
            If so, we should be compensated for our music.
            Who wants to work for free.

          • So JP doesn’t have an artist rep/liaison? I guess that’s one difference with the exclusive world.

            I can pick up the phone and speak with someone, or send them an email directly.

            More food for thought before I jump onto that world.

            • I don’t think there’s a problem calling them. I’m just too lazy. 🙂 In any event I do think it should be in the open so my choice is a forum. They are usually pretty good about responding.

          • Hey Art, I did click on the same question option in their forum. I also sent an email with no response.

            I think EJ may be off this week, have not seen him answer any questions this week, so……I am giving them the benefit. Hopefully we can get an answer soon.

  8. I need to send my tracks to a library by DVD in the post. Some of the tracks are in 24bit 48khz and some are in 16bit 44khz. They want both types. Is it possible to make a dvd with songs that have different bit depths and sample rates? Do I make a data disc or an audio disc?

    • Still blowing a gale down here, stay safe up there. (Irish weather!!!)

      Make a data disc, an audio disc can only be 16-44. I always send data discs unless the specifically require a CD that they can play.

      • Our bins are flying all over the place! Was blowin a gale here too last night. Not too bad at the mo tho. Thanks for the tip Denis. Ill make a data disc. thanks.

  9. Question for Art & the Gang.

    When is the right time to proceed with ‘collecting royalties’ after a period time has gone by. No Cue Sheets.

    Say 6 months? – Since the airing of a song.

    You should take action.

    • That would be too soon if you are talking PRO payments. I would say at least a year. Have you contacted the library that placed it?

      • Yes, P.R.O.

        The library response is the typical
        “Wait for it to appear on your P.R.O. Statement.” response

        It has been a year on a few of them.

        • I have a couple of those myself. I would track down the production company and try to find out what’s going on but it really should be the library’s job.

        • The same thing happened to me a while back. Libraries are not very good about dealing with these things. It would seem as if libraries would take the initiative in instances like this. But for some reason, many libraries feel as if they may ruin a relationship by asking questions.

          Like Art said, contact the production company. They are the end user, so they should have the most pertinent information. Also, you should actually try to pitch your songs directly to the production company. It may not work, but it is worth a shot. I am in the process of gathering up the contact info for some companies and will be hitting the phones soon.

          • I would only contact the production company as a last resort after it’s obvious for a very long time that the library isn’t doing it. Production companies can get easily annoyed with composers contacting them. (I’m not saying don’t do it, just really make it a last resort).

            First, I assume you are sure that there really was a placement and an airing? How do you know? If there was a usage, are you sure which library made the placement? Is the track only in one library? Is it a library that shares in performance royalties? (Most do, a few don’t)

            The normal process is everything is 2 calendar quarters behind the quarter in which the show was aired. However, sometimes shows are late filing cue sheets and this slips to 3 quarters. And, of course, sometimes things slip through the cracks– your cue wasn’t properly referenced on the cue sheet, or other error.

            Please let us know more about how you know your cue was aired and the other info. Also, before I called the production company, I might discuss it with someone at your PRO and see if they can help.

            Best

            • I found out about this placement through an online database. The placement was made back in 2010. I contacted a few libraries that I had the track with: no help. I contacted my PRO: no help. It only made sense to contact the production company.

              I know many composers are risk-averse. But this fear of contacting companies is usually from a lack of experience. Most composers do not have the experience talking to music professionals. I just started cold calling libraries with a script I prepared. All the libraries I contacted were respectful and I even landed some new deals.

              I believe that since I have more songs placed in more shows, I have value. I kind of enjoy talking on the phone more than shooting off an email. It is a huge psychological boost to get ideas from working professionals. As great as this site is, there is no comparison to talking directly to the companies that make the decisions.

              If you are serious about getting more placements and avoiding issues, get on the phone and contact someone. You will feel much better and learn much more than visiting websites. Please, I beg you: make the call. It can change your life!

              • Thanks Synth for the reply ;), but I was asking Steven because he raised the question and I wanted more info on his scenario.

                🙂

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