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“Pump.audio,Jingle Punks,Crucial music,all non exclusive seem to be working just fine.”
I think that rather depends on your interpretation of ‘just fine’. If you’re just after a little pocket money over the course of the year to supplement a full time job then yes, I agree. Just don’t expect to earn much.
Well my interpretation is of there business model.
Its micro money for composers like many of the rf sites.
Most exclusives are pretty closed up these days and
there are more who have tracks sitting on shelves.I’ll agree
that exclusives get paid and everyone makes more money,
depending on the exclusives.
I just ran across this article today:
Rumblefish Partners With APM Music, The World’s Largest Production Music Library, For Consumer Soundtrack Offering
I think the exclusives would like to buy up the smaller fish and corner the market
so non-ex’s never get a foothold. It may be too late already.
Pump.audio,Jingle Punks,Crucial music,all non exclusive seem to be working just fine.
@DanP, that’s little too cynical, and I think a bit unrealistic. Larger libraries have been buying smaller libraries for along time. The big libraries grow their catalog, and the smaller libraries are tapping into a larger distribution network. It’s just business. It has nothing to do “cornering the market.” APM had long been a library made up of libraries.
Michael: There is a good article from Film Music Magazine by Bob Mair, CEO of Black Toast Music. It was in the June 14th, 2011 edition and titled ‘Music Libraries: From Last Resort to Power Players.’ He echoes what DanP is saying.
I don’t think that it echoes what DanP said. There’s nothing in there about “cornering the market” to prevent non-exclusives from “getting a foothold.” I didn’t see anything at all about the different business models.
What is happening is that large media companies, like Warner and Sony, who were not previously in the library business, are now buying up libraries to help fill a void left by the demise of the record industry. Second, they have tons of tracks from indie bands that they don’t really know what to do with. So, buying up libraries with connections to media programming gives them a way to promote all of that otherwise unused music.
The next big point that that the article makes is that this is a very good time for library music. Library music used to be thought of as second rate. But, technology has resulted in better library music. More and more production companies are turning to library music because of the economy, which is another factor that makes buying libraries attractive for large media companies.
This kind of thing happens all the way down the food chain. Take a look at Megatrax website, and look at all of the libraries under its umbrella. Same thing with 615 Music. That’s why 615 was so attractive to Warner. so here’s the food chain: small library (Metro) > gets bought by big library (615), big library (615)> gets bought by media giant (Warner). They can’t buy a non-exclusive library’s catalog, because those libraries don’t own anything.
Don’t forget that these large companies, like Warner and Sony, are also content/program producers. So, buying libraries provides them with vertical integration. If they own the libraries whose music get’s used in their productions, it’s win win.
Cheers,
Michael
CD Release Party! You all are invited!
Ok, it is my 5th album released with Magnatune and I could not be happier with the special treatment I receive from them!They also put my digital albums on iTunes. Here is the site if you would like to sample my work and as many of you already know, even better the huge collection of music they offer by subscription. Thanks for letting me share this here … Virtual CD Release Party!
Go to link and then follow to the Tunecore site. New method of collecting royalties.. Certainly a reputable company.
Thoughts anyone on this one..
Hi Denis,
I watched the video. It sounds interesting, but I noticed a youtube badge on their site. I infer that means that they will be trying to collect royalties from youtube, among other places.
This poses a potential problem for writers with music in some RF libraries. MusicLoops, for example, recently posted that it would immediately drop any composer, whose works triggered a copyright notice on youtube.
I guess there will come a time when writers have to make a choice between sources of income. I suppose that if you do not include your RF tracks among the tracks that you resister with Tunecore, that would solve the problem. But, that diminishes the value of your catalog. Your robbing Peter to pay Paul.
It’s all worth investigating. I just uploaded my old new age and smooth jazz CDs to CDbaby, iTunes and Amazon.
Cheers,
Michael
I have a couple of exclusive deals,one I just found is
selling my tracks I signed with them 3 years ago @non-exclusive sights.
This is slimy and retitled tracks too.Lets hear it,I’m a bit perturbed…..
Yeah DanP,.
I’ve had that happen too. Two “exclusives” now selling older tracks on some RF sites.
These exclusives are small fish though. How about you?
_Michael
Well I’m small fish too really.Luck has it I don’t have many tracks with them
but their contract is shaky too given the industry.
Strange that an exclusive sells on these rf sites.Had I only known but then thats part of finding out how it all works really.
I meant the exclusive libraries that are reselling your tracks. Top level or small?
@Michael:
I’m gonna say they are small but they have several
different companies under their umbrella. I know they initially
sold out to Pump and started several new libraries.
Hey DanP, I discovered this very issue a while back and posted about it here. It is very underhanded a deceptive. But it becoming a common practice by smaller exclusives that have trouble marketing themselves. Here is a link to the post: https://musiclibraryreport.com/blog/making-it-in-the-music-business/
By the way, this exclusive library wouldn’t be happened to be located in TX? If it is, I know exactly who you are talking about!
@Synth Player:
Yes they are in TX.I had an inkling many months
ago this was happening,as who will know
unless you become the Library police really.
The way around is we retitle,and go offshore?sound familiar?!!
In my opinion, the only reputable exclusive libraries are those associated with PMA. Even though I have some disagreements with Ron Mendlesohn, I think the libraries associated with PMA are the best of the best.
It would make more sense for me to keep control of my music than to sign with a non-PMA exclusive library. Once an exclusive has control of your music, it is no longer yours. This is why composers must use caution when signing away rights to songs.
@Synth Player:
Agreed.I know members of the PMA and they
are more reputable.
Just seems the exclusives are not taking many new composers
cause they don’t have too.
I just received a FMN listing in my email. Says the company only accepts exclusive tracks, but will license non-exclusively.
“Just seems the exclusives are not taking many new composers
cause they don’t have too.”
That, and there are just too many people knocking at the door. As discussed in another thread, cheap technology has increased the number of people making music. Much of it is not good, or it is simply not production music. Libraries do not have time to listen to thousands of tracks from thousands of writers in order to figure out who understands their format and their needs, and who doesn’t.
I think you’ll find that they are receptive to quality production music in their format, i.e., complete collections, fully edited (full, 60, 30,15, stingers, bed mix) –with good production values. Some people will disagree with this, but at the PMA meeting one of the PMA library owners said essentially that he didn’t want to “hear garage band.”
What ever you style is, pick a couple of top libraries…Megatrax, Killer, etc and listen to their tracks in that style. That’s where the bar is set. That’s what you have to shoot for. Then do it in their format, as described above. Remember, the top libraries are not interested in buying one track here and one track there.
Michael
Note: this does not apply to “songwriters” who are trying to license their songs. That is not production music — as observed by Musync. It’s two different crafts and to some degree two different worlds, although they overlap a bit.
I’m sure some people here already subscribe, but if you don’t read TapeOp already, check it out. Third-class mail subscriptions are free in the US and UK.
Lots of great interviews with producers and engineers, gear reviews… Really worthwhile.
Hi all, if anyone subscribes – an article I wrote is featured in the November issue of “Recording Magazine”. The theme of the issue is mixing. It’s also available at newsstands across the country; if you can find a newsstand in this day and age 🙂
I am really gutted about this. Expected I know, but it seems like the world is a duller place without him.
As a Mac user for 25 years he certainly shaped and helped my career and many others too.
This is a great site, with tons of stuff about producing, mixing, writing. Lots of interviews with top cats. A treasure trove.
“Pump.audio,Jingle Punks,Crucial music,all non exclusive seem to be working just fine.”
I think that rather depends on your interpretation of ‘just fine’. If you’re just after a little pocket money over the course of the year to supplement a full time job then yes, I agree. Just don’t expect to earn much.
Well my interpretation is of there business model.
Its micro money for composers like many of the rf sites.
Most exclusives are pretty closed up these days and
there are more who have tracks sitting on shelves.I’ll agree
that exclusives get paid and everyone makes more money,
depending on the exclusives.
I just ran across this article today:
Rumblefish Partners With APM Music, The World’s Largest Production Music Library, For Consumer Soundtrack Offering
http://mi2n.com/press.php3?press_nb=148357
I think the exclusives would like to buy up the smaller fish and corner the market
so non-ex’s never get a foothold. It may be too late already.
Pump.audio,Jingle Punks,Crucial music,all non exclusive seem to be working just fine.
@DanP, that’s little too cynical, and I think a bit unrealistic. Larger libraries have been buying smaller libraries for along time. The big libraries grow their catalog, and the smaller libraries are tapping into a larger distribution network. It’s just business. It has nothing to do “cornering the market.” APM had long been a library made up of libraries.
Michael: There is a good article from Film Music Magazine by Bob Mair, CEO of Black Toast Music. It was in the June 14th, 2011 edition and titled ‘Music Libraries: From Last Resort to Power Players.’ He echoes what DanP is saying.
Thanks for posting,
ChrisS
Hi Chris,
Here’s the link to the article. http://www.filmmusicmag.com/?p=8075
I don’t think that it echoes what DanP said. There’s nothing in there about “cornering the market” to prevent non-exclusives from “getting a foothold.” I didn’t see anything at all about the different business models.
What is happening is that large media companies, like Warner and Sony, who were not previously in the library business, are now buying up libraries to help fill a void left by the demise of the record industry. Second, they have tons of tracks from indie bands that they don’t really know what to do with. So, buying up libraries with connections to media programming gives them a way to promote all of that otherwise unused music.
The next big point that that the article makes is that this is a very good time for library music. Library music used to be thought of as second rate. But, technology has resulted in better library music. More and more production companies are turning to library music because of the economy, which is another factor that makes buying libraries attractive for large media companies.
This kind of thing happens all the way down the food chain. Take a look at Megatrax website, and look at all of the libraries under its umbrella. Same thing with 615 Music. That’s why 615 was so attractive to Warner. so here’s the food chain: small library (Metro) > gets bought by big library (615), big library (615)> gets bought by media giant (Warner). They can’t buy a non-exclusive library’s catalog, because those libraries don’t own anything.
Don’t forget that these large companies, like Warner and Sony, are also content/program producers. So, buying libraries provides them with vertical integration. If they own the libraries whose music get’s used in their productions, it’s win win.
Cheers,
Michael
CD Release Party! You all are invited!
Ok, it is my 5th album released with Magnatune and I could not be happier with the special treatment I receive from them!They also put my digital albums on iTunes. Here is the site if you would like to sample my work and as many of you already know, even better the huge collection of music they offer by subscription. Thanks for letting me share this here … Virtual CD Release Party!
http://magnatune.com/artists/albums/carilive-iacdaze
“In A Cosmic Daze” by Cari Live
I watched the video on the site. Who are they “registering your music with?” Sound Exchange? Who else is there that collects these kinds of royalties?
http://www.nin.com/?id=102490
Go to link and then follow to the Tunecore site. New method of collecting royalties.. Certainly a reputable company.
Thoughts anyone on this one..
Hi Denis,
I watched the video. It sounds interesting, but I noticed a youtube badge on their site. I infer that means that they will be trying to collect royalties from youtube, among other places.
This poses a potential problem for writers with music in some RF libraries. MusicLoops, for example, recently posted that it would immediately drop any composer, whose works triggered a copyright notice on youtube.
I guess there will come a time when writers have to make a choice between sources of income. I suppose that if you do not include your RF tracks among the tracks that you resister with Tunecore, that would solve the problem. But, that diminishes the value of your catalog. Your robbing Peter to pay Paul.
It’s all worth investigating. I just uploaded my old new age and smooth jazz CDs to CDbaby, iTunes and Amazon.
Cheers,
Michael
I have a couple of exclusive deals,one I just found is
selling my tracks I signed with them 3 years ago @non-exclusive sights.
This is slimy and retitled tracks too.Lets hear it,I’m a bit perturbed…..
Yeah DanP,.
I’ve had that happen too. Two “exclusives” now selling older tracks on some RF sites.
These exclusives are small fish though. How about you?
_Michael
Well I’m small fish too really.Luck has it I don’t have many tracks with them
but their contract is shaky too given the industry.
Strange that an exclusive sells on these rf sites.Had I only known but then thats part of finding out how it all works really.
I meant the exclusive libraries that are reselling your tracks. Top level or small?
@Michael:
I’m gonna say they are small but they have several
different companies under their umbrella. I know they initially
sold out to Pump and started several new libraries.
Hey DanP, I discovered this very issue a while back and posted about it here. It is very underhanded a deceptive. But it becoming a common practice by smaller exclusives that have trouble marketing themselves. Here is a link to the post: https://musiclibraryreport.com/blog/making-it-in-the-music-business/
By the way, this exclusive library wouldn’t be happened to be located in TX? If it is, I know exactly who you are talking about!
@Synth Player:
Yes they are in TX.I had an inkling many months
ago this was happening,as who will know
unless you become the Library police really.
The way around is we retitle,and go offshore?sound familiar?!!
In my opinion, the only reputable exclusive libraries are those associated with PMA. Even though I have some disagreements with Ron Mendlesohn, I think the libraries associated with PMA are the best of the best.
It would make more sense for me to keep control of my music than to sign with a non-PMA exclusive library. Once an exclusive has control of your music, it is no longer yours. This is why composers must use caution when signing away rights to songs.
@Synth Player:
Agreed.I know members of the PMA and they
are more reputable.
Just seems the exclusives are not taking many new composers
cause they don’t have too.
I just received a FMN listing in my email. Says the company only accepts exclusive tracks, but will license non-exclusively.
“Just seems the exclusives are not taking many new composers
cause they don’t have too.”
That, and there are just too many people knocking at the door. As discussed in another thread, cheap technology has increased the number of people making music. Much of it is not good, or it is simply not production music. Libraries do not have time to listen to thousands of tracks from thousands of writers in order to figure out who understands their format and their needs, and who doesn’t.
I think you’ll find that they are receptive to quality production music in their format, i.e., complete collections, fully edited (full, 60, 30,15, stingers, bed mix) –with good production values. Some people will disagree with this, but at the PMA meeting one of the PMA library owners said essentially that he didn’t want to “hear garage band.”
What ever you style is, pick a couple of top libraries…Megatrax, Killer, etc and listen to their tracks in that style. That’s where the bar is set. That’s what you have to shoot for. Then do it in their format, as described above. Remember, the top libraries are not interested in buying one track here and one track there.
Michael
Note: this does not apply to “songwriters” who are trying to license their songs. That is not production music — as observed by Musync. It’s two different crafts and to some degree two different worlds, although they overlap a bit.
I’m sure some people here already subscribe, but if you don’t read TapeOp already, check it out. Third-class mail subscriptions are free in the US and UK.
http://tapeop.com/subscriptions/
Lots of great interviews with producers and engineers, gear reviews… Really worthwhile.
Hi all, if anyone subscribes – an article I wrote is featured in the November issue of “Recording Magazine”. The theme of the issue is mixing. It’s also available at newsstands across the country; if you can find a newsstand in this day and age 🙂
Drop a line if you happen to read it.
Nothing to share…just a statement.
Steve Jobs. How much you changed our world!
Rest in peace.
Steve Jobs, A Genius.
R.I.P
http://www.youtube.com/watch?v=D1R-jKKp3NA
Amen
I am really gutted about this. Expected I know, but it seems like the world is a duller place without him.
As a Mac user for 25 years he certainly shaped and helped my career and many others too.
This is a great site, with tons of stuff about producing, mixing, writing. Lots of interviews with top cats. A treasure trove.
http://www.youtube.com/show/pensadosplace?s=1
Cheers,
Michael
MichaelL — you’re not kidding. Wow, what a resource.
Pensado’s place is @ Gearslutz too. Another treasure trove of info.
I’ll take a look at Gearslutz too. Thanks!