1,729 thoughts on “General Questions”

  1. Hi All,

    Pseudonyms???

    I’ve asked this question before, and I didn’t get any responses. So, now that you’ve seen me post here for a year, I’ll ask again. How many writers are using pseudonyms? …. more than one pseudonym?

    This is not to denigrate anyone’s work. However, I can see where a film/tv composer might want a separate persona for library work, or that library composers might want separate personas for exclusive, non-exclusive and royalty free work.

    Again, this is not to judge any type of work, but I can see where someone who is known for orchestral/cinematic cues, might want to do corporate cues under a different name to, for lack of a better term, protect their brand.

    Is anybody doing that? No need to name your pseudonyms. I’m just curious as to how widespread the practice is.

    I wrote a lot of tracks for an exclusive library in the 90’s, and they wanted their writers to have at least three different names, so that people wouldn’t think they were using the same composer over and over. Does it matter?

    I’d love to hear from some of the libraries on this issue.

    Thanks,

    Michael

      • It is using a name other than your “real” name. A stage name would be the performer’s equivalent. For an author, it would be a pen name.

        ASCAP allows a writer to use up to five different names. I was wondering 1) if anyone is taking advantage of that to separate their work in different segments of the business, and 2) if the writers with a lot of cues (1000) do it to keep from being over-exposed.

        Art has already mentioned that “Matt” is not Matt’s real name. I am curious to know if “Matt” and others with a lot of cues spread around exclusives, non-exclusives and royalty free sites work under different names for each model. Or…do they use different names for different genres, like Willie for country and Dawg for hip hop?

        I’d like to know the library owners thoughts/practices. Like I said, one exclusive library that I’ve written for publishes my work under four different names, including my real name.

        • That seems weird to me. TV shows usually don’t list the names of composers in the credits. And why would getting exposure hurt a composer? It would seem that more attention would open up more doors.

          I never even heard of that practice. I guess you learn something new everyday.

          • When an editor finds a track they really like, they sometimes look up who wrote it, and seek out more from that composer. It’s a quick way to find the best tracks in a library. If your stuff is really good, and you’ve written for a lot of libraries, there’s a good chance your name will pop up a bunch of times across those various libraries.

            Some libraries might think that they have something special to offer if their music is written by composers that ‘aren’t writing’ for other libraries.

            I don’t think it’s really something exclusive libraries need to worry about, but it is a big deal for non-exclusive libraries that have re-titled your tracks, and might all end up on the same server!

        • Hi Michael, I haven’t personally been asked to use a pseudonym when writing for libraries, but a friend of mine has.

          Another guy I know is doing really well in film, and wants to separate his ‘name’ as a film composer from the library work he does. It’s an interesting idea, but I’m not too concerned about making that separation, in fact I’ve actually gotten several film gigs through high profile licenses of.my stuff.

          Maybe these days most of the libraries don’t care as much about the same composers popping up across different libraries because there’s just so much music out there now. In smaller circles, trailers for example, the libraries that focus on those smaller markets might still want to do pseudonyms.

          A few times I’ve been asked to be exclusively writing for a trailer music library for the duration of the contract, but managed to get out of that by explaining that I would have to keep other commitments (like friends’ films and demoing for commercials) but they probably wouldn’t be involved in the same market (trailers). It was probably more to do with them just wanted to put the squeeze on other libraries I might work with, and less to do with me delivering all the music as quickly as possible.

          • @ Eddy L, it’s not so much about being over-exposed to the public, as it is to music editors, who may grow tired of your music more quickly, especially if you have a lot of tracks. It may have been an idiosyncratic fear of that praticular publisher.

            @Matt thank you again for sharing your experience. My main concern is that I have a large, catalog, probably 500 cues, of corporate music that I want to monetize. The tracks are typical motivational stuff, and what one client used to refer to as “pallet movers or forward motion music,” good for science and technology and manufacturing. It’s not bad music, but it’s not the same kind of writing as the network cues that I’ve done. I see no point in just letting the tracks sit, but I don’t want to get pigeonholed.

            Have you experienced any prejudice among higher end clients, because you have tracks in royalty free libraries? Do you think that there’s a prejudice against corporate music? I noticed in another thread that one poster seemed to sneer at Michael Kahklani for doing “mostly just corporate stuff.” I would hope / think that clients will understand that it’s just good business to monetize what you can, where you can.

            Thanks again.

            • Hey Michael,

              Not sure if this counts, but I had a semi-famous jazz pianist play on one of my tracks. I signed an agreement that his name would remain anonymous . He was signed to a major record label and wasn’t really allowed to moonlight.

    • Pseudonyms, yeah! Loads!

      Library A – Real name + 4 pseudonyms
      Library B – Real name + 1 pseudonym
      Library C – Real name
      Library D – Real name + 1 pseudonym

      • Thanks Jello.

        I knew that I couldn’t be the only person to encounter this. Mind sharing the rationale?
        I know that you work only with exclusives, so it’s not to work in all three models without diluting your brand.

        Do you write in different styles for each pseudonym?

        Cheers,

        Michael

  2. This question is for anyone …Which Non exclusive Library is your top fav library that you have had success with ?? anyone ?

      • Sorry for sounding like such an idiot, but what is the difference between “for licensing” and “royalty free sales”?!

        Also, something I just can’t get a handle on: those libraries which offer tracks specifically because they are not registered with any PRO – why do they do this? I mean, it’s the network / broadcaster who pays royalties right? So is it for networks / broadcasters who are buying music directly? Surely a production company wouldn’t do this? Or am I again being an idiot! Lol!

        Thanks for your help everyone…I don’t really know where I’d be without it.

        • In the exclusive world, you pay a fee every time you use a cue in any production. This used to be called a needle drop, when the music was on records. I guess now it’s a digi-drop.

          Royalty free generally means that the user pays for the piece of music once, and can use it as many times as they want.

          Royalty free is a misnomer. Paying a fee every time you use a particular piece of music in a different production is NOT the same as paying royalty. It’s a separate license fee. This is perhaps a marketing gimmick to end users who do not understand how PROs and royalties work. Ironically, many of the RF users are non-broadcast, so the issue of royalties is moot.
          It’s a term that has come to generically mean that you have no future obligations.

          If an RF cue is used in a broadcast situation, you are entitled to your PRO royalties.
          It is the broadcaster NOT the producer who pays the royalty. However, many RF libraries do not request, or require, that their customers file cue sheets.

          • Thank you for the explanation. That has definitely helped me a lot.

            So why would libraries offer completely performance royalty free music? Is that to sell direct to broadcasters who want to avoid paying performance royalties?

  4. thanks jello – ive not joined mcps as i thought thats only for mechanicals from if it you make records or cd’s. am i right on that one or is applicable to library stuff? is it something they collect and will just give to me even if i not mcps regd ? and thanks john i will check that one tomo- i think its 50 50 on the licensing fee – if it is do you have any idea what i can expect from that ? please tell me i can buy a new house or car with it ))) thanks also for your ‘stick at it’ mentality kick.

    • Adam, no you don’t join MCPS. The library is a member. Then they pay you your 50% of the share 2 (or 4 in the case of De Wolfe) times a year. In very simple terms, when someone uses your track they buy a licence through MCPS depending on the type of use. The rate card tells you how much is paid as per the type of usage. It’s a sort of one-off payment, unlike the PRS royalties. Then there’s blanket payments which confuses the issue still further.

      I would say that it might be well worth your while understanding how the business works because with tracks out there, you really should have more of an idea. It’s your business/income after all.

      Check the PRS website or give them a ring with any queries. Also, the publisher should be able to tell you how the process works. That would be my first port of call if I were you.

      As for earnings again, a reality check is in order I think Adam. I’ve been doing this since 2002 and this year I will make decent money. But I have 500 tracks out there with the UKs top libraries. For the first 3-4 years earnings were not great. I was only able to quit the day job in 2007.

      When we say it’s a long haul, that is putting it mildly. You really DO have to be looking to 5 years in the future. Also, you need to be putting 70-100 tracks into the system per year and then those tracks getting regular use. That is only possible through a handful of companies. But it can pay off if you get to work for these on a regular basis.

      • thanks jello – thanks for the info. i will follow this up – i guess i thought it was going to be a quick fix and if i’m honest somewhere i have a pipe dream of if only i can make that one melody which is on every channel then i can sit back put on my slippers and put my pipe in my mouth and ask the wife if my teas ready yet…))) ok hard work – 2011, so were talking 70-100 tracks a year, wow, with the main libraries always being mentioned only being 5-7 of them thats like 20 tracks per library. that would be really hard as their schedules are so tight and they seem to want to vary artists quite a lot, i know i could do 100 non exclusive tracks on sites fairly easliy and if that was the challenge i think i would be ok but knowing that they are picky about having diverse amount of artists on those labels i imagine thats really hard, not impossible i guess i need to step up my work to be top notch , thanks a lot for the answers.

        • No worries Adam, best of luck! I should just add that all my tracks are with exclusive libraries based in the UK. I can do 70-100 a year as I am able to do several styles. I do know people who do alot more than that though!

  5. im new to this and just got a prs statement with one of my tracks in several shows – big brother / goks fashion show and a few others – however it just doesnt add up to much money – on prime time tv and the track runs for 10-30 secs on average – often it comes up as earning £7 or £10 pounds – my question is is that all its going to make ? im really new to it all being my first year at it – the tracks are from chappell lib – is there something i am missing here other than the prs statement ive got – are they recieving add money to the prs ive just got ? my deal is 50/50 exclusive. please tell me im going to earn more than this after all the work !!

    • Hopefully a British composer will chime in, to answer your question. Over in the US, primetime network TV royalties are around $240 a minute for ‘background instrumental’ music. The amounts you’re talking about are more along the lines of rates for prime time cable networks like VH1 and MTV (at least here in the US). Don’t rule out a mess up in the paperwork, but getting paid is most of the battle. Did you share the writer’s royalties?

    • Yes, unfortunately this is all you can expect. For example – ‘Come Dine With Me’ – 41 seconds on Channel 4 earnt me £8.83. Check out the ‘per minute’ values on the PRS website http://www.prsformusic.com/creators/membership/PRSforMusicroyalties/prsroyaltysources/terrestrial/Pages/terrestrial.aspx.

      And wait till you see the BBC iPlayer royalties!! 100,000 plays earning 5p.

      The library biz, as anyone will tell you, is a long haul game. You need masses of motivation and patience and perhaps 200 tracks out there with top libraries earning for a few years before any serious money comes in.

      Don’t panic and stick at it!

      • Indeed – library is a long haul.

        Jello pretty much sums it all up, but if you’re with Chappell, you’re off to a good start.

        • thanks for your replies. i just thought that something like big brother on channel 4 would be more. i mean thats my prs statement – i am a little unsure of it all, but i heard of sync fees, is this something that the prog has to pay to the library which i will get half of ? i saw those were more expensive. please say there is more in the pot ? 2 matt – yes just me writing , no share. i did see a lot of american stuff on access hollywood – and that seems to pay same as channel 4 – and piddly other things. i think its odd that something like music dealers offers a 1k for a clip for mtv in background of something daft like 16and pregnant and big brother is like that. mmm. thanks for your responses and for the encouragement. i need it.

          • Adam, check your contract to see if you’re entitled to licensing fees. This is knowledge you should have known before signing on the dotted line.

            Some libraries don’t split licensing fees with the writer.

          • It does seem a tiny amount alright, but dont forget C4 has a very small percentage of the share of UK TV. What would you earn on the Xfactor for the same cue I wonder.

  7. What will be the state of music libraries in the future? A thought I have regarding music libraries is what market holds the most potential for the future for companies and composers. I read about companies in America and other developed countries spending money and developing businesses over in emerging markets like China, India, and Brazil.

    I kind of wonder what the benefits of working with publishers in these markets would be. It would seem that as the economies of these countries grow, there will be more money spent on media. This means that more music will be needed for use in TV shows, films, and commercials. People all over the world like music and many like American music, even if they do not understand it or do not like the message presented in some songs.

    Perhaps many struggling composers in developed countries could start to develop ventures with publishers overseas and build up relationships with foreign music publishers. It could be financially rewarding to do music for foreign markets. It just seems that trying to pitch songs to companies in developed countries and hoping to land that one placement with an exclusive library is not the best route for many composers.

    Any thoughts?

        • Still very, very, busy here and no sign of a let up.

          Not sure if this is the place to say it, but :

          Art, and all you other guys and girls – MERRY CHRISTMAS !!!!

          • Best Wishes to you darkstar and Art…and to all for the holiday season.

            And a Happy, Healthy and Prosperous New Year!

            Cheers,

            Michael

            • Merry Christmas everyone. Here’s hoping for every (continued) success for all of us in the new year!

              Have a great holiday season guys and gals!

              • Happy Holidays to all! 🙂

                Whether it’s Christmas, Hanukah, Kwanza, Festivus, etc… whatever you celebrate or don’t celebrate, wishing you the best!

                I hope 2011 rocks for you!

                • Happy Christmas to everyone from a very cold and snowbound Ireland. First White Christmas is on the cards for the first time I can remember!!!

    • Nameless,

      I don’t post on here too often but I do read almost every post. You’re money hungry, I like it. Here are some facts:

      Yes you can absolutely sell your own music to Music Supervisors, but many musicians chose not to. If you choose to sell your own tracks, it may be a little difficult, but you may find it worth it in the long run. If not, no problem, there are hundreds of companies to do it on your behalf.

      Regarding China : Forget about Mainland China for now, focus on Hong Kong. Big publishers in Hong Kong love getting calls from America. I’m sure if you called any big publisher in HK you can talk to an A&R rep immediately. If they offer you a multi-territory deal, leave out Japan unless they give you extra consideration or already have you writing with big Asian pop stars.

      India: My co-writers who were born in India won’t even do business in the Indian Entertainment scene. I’m going to take that as a hint to stay away for now. Revisit in 5 years.

      Brazil: There are multiple performing rights organizations in Brazil. Large country, not too much action on the sync front unless your doing work for TV commercials. I landed a commercial in Argentina for a friends band and they paid pretty well. Brazilian budgets may be similar but don’t quote me on that.

      There is a large need for Brazilian music here in America. The UFC does almost countless hours of content per year on Spike TV, Pay Per View, Versus and online. More than a third of their fighters are from Brazil. Does the UFC have a music director? You tell me.

      Definitely work on making more music, but always keep money on your mind. I’m sure you know the Rick Ross hook from 2006. Believe it.

  8. When you can get someone to pay you upfront for your tracks
    and they get placed on a regular basis,and everybody wants your tracks.
    Having a degree in music wont get that for you.
    Not much street vibe in the schooled musician but if you are into Orchestrations
    school is esential.

  9. Anybody ever got there music rejected and in effect been told its garbage by one library, entity etc yet another library, organization accepts it and acts like its some of the best? this has happened about 5 times recently and has me somewhat confused…I guess some libraries feel that everybody should have thousands of dollars of equipment to mix etc

    • Some do expect that.Trick is to
      find out who needs what you have.Some companies
      need one style more than another but if your music is real good
      than you will have more takers!

      • Just curious. How is “really good” defined in the production music world?

        Certainly not the same way it’s defined academically.

    • Don’t be confused. This happens to me more than you can imagine. I really have stopped trying to guess what libraries want. I usually just turn on MTV or listen to the radio and try to make clones of those tracks. It has started to work.

      I think that library owners are just like most music A&R people out there; They like what sells!

      If you can provide that, you are usually in with most libraries. I really have not been too successful with stuff I made that I would consider “unique”. The most simple songs or the ones that are closest to popular songs have been the most accepted music.

  10. I signed 20-or so tracks for Muzak and EOS. Any artists signed with them? Where I can find some experience testimonials on web? I tried everything on Google, but the whole bussiness is seems like wrapped to “code of silence”……

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