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Should I Sign With A ReTitle Library?

Chris Jones recently wrote an article about re-titling over at SonicScoop. I thought it would be of interest to many and Chris kindly gave us permission to re-post it here.

By Chris Jones

With master recording licensing and synchronization now being the current revenue-generating and promotional system in the music industry, we see all the traditional recording exploitation boundaries disappearing.

Music libraries take on scoring gigs, produce artists/songwriters, and ad work while maintaining their catalogs of TV-ready production music. Record labels seem to be fully hitched to omni-lateral licensing pie, artist-endorsed ad campaigns, single tie-ins, whatever. Add the quick-and-easy factor of digital delivery AND soon-to-be ubiquitous audio recognition tech AND deeper metadata AND the slippery slope of what passes as acceptable quality both audio- and video-wise AND this is America, the land of excess. Production = bigger and faster, but not always better.

Point: The “production music” pool is one big pattern-recognizing server of every kind of gang. It’s all our turf. Can you dig it?

One of these “gangs” or business models in production music specific publishers is the re-title library or (to illustrate points using metaphor and acronym) “inert” libraries. It’s a (typically) Independent Non-Exclusive ReTitle music library that will rep your catalog after they give your (only) master a unique title. The library then registers that unique title to their PRO (be it ASCAP, BMI, et al.) as that titles’ “publisher” and can then go forward and collect future performance royalties on said title and also collect any other fees (direct license, sync) associated with licensing. From the research I’ve done, this model has the composer world polarized yet unified in one aspect: we seem to be waiting for the other shoe to drop.”

On the surface, one would think: What’s to lose? I have tons of crap sitting on my drive doing nothing for nobody no-how. If someone can make me money and wants to take 50% please be my guest. And it’s non-exclusive? Even better. I’ll look up every re-title library and get cracking. Man, I am sitting on a f*****g gold mine.

So, should I sign with an inert library? That question creates more questions and that is the universal choking sign of a deal to me. I agree that the inert model could be a positive way to crowd-source useful, high-quality, and (most importantly) available masters. But I speak from the viewpoint of a composer that has a specific agenda of producing a high volume of library music for the big exclusive Production Music Association (PMA) libs in addition to what I’ll call “custom” music like songwriting, sound design for composers, remixing, whatever.

There are many ways to poke holes in the inert model, but let’s start with imminent ubiquity of audio pattern recognition technology. BMI acquired BlueArrow almost 5 years ago, and ASCAP has been working on Mediaguide since 2002. These are technologies and services that give your audio/masters a fingerprint via audio analysis, not traditional watermarking (which is hit-or-miss and distorts the file). The tech then monitors broadcasts looking for matches. Soon (the sooner the better) all broadcasts are going to be monitored with this robotic vigilance. Unfailing accuracy. Amid endless dirty AM radio ads, it will be searching for your singularly unique combination of digital DNA. Wait, what-the? This track has 5 titles and 5 publishers…the robot computes.

I’m curious how that’s going to work.

Plus, I thought the whole idea in business was to be exclusive. Where’d that go?

So I send this stupid breakbeat track called “A” to inert lib A. Inert lib A registers “A” to ASCAP as publisher. Already I’m uncomfortable. I send the same exact file to inert lib B. All the way to f*****g Z. I have 26 people claiming to publish my tracks? Are they all undercutting each other or is there a standardized fee? The fee is nothing because you gave sync away in lieu of the slow buck? You just gave away my 50% of shared sync but I guess the contract says you are publisher so you have that right. Oh and the gig was non-broadcast so there is no slow buck. No buck at all.

Oh well I’ll see money on the back end.

Holy s**t, there are 50,000 tracks on this drive! The editor, overhearing my subconscious italics, says 50,000 is way too much b*****t to wade through and goes back to cutting a backend-less corporate video. Then he looks closer. He’s p****d because it’s the same 50,000 tracks the guy from inert lib G left last week. He went through a random 100 or so and they all sucked so he figured they all must suck. Therefore, all inert libs must suck, he thinks. No wonder he waived sync. To charge would have been criminal and there’s no way he paid for this music.

I only have 25 tracks on that drive. I hope the users find them. Back-end may not enter the picture because there’s tons of s**t you never see called non-broadcast. It’s all front-end. So if they waive sync I’m screwed. If they direct license I’ll do better at .0002%, unless it’s .0002% of zero.

I hope A-Z keep tabs on the reporting process. I hope the drives aren’t circulating. I hope an exclusive deal on a track doesn’t come along because that would mean having to turn down a lot of money. I wonder if I could call every editor in the world that FTP-posted or p2ped my slutty one-offs and say, “I own the copyright on these masters and I want to sell them.” Seems like inert libs and their supporters wave the flag on “copyright control.” But how do you retain total control if your choice to sell exclusive is removed? Note: I worked with one inert model that had an “OK to buy” option but again…how could you repo that master if it’s in A-Z and beyond? I fear being the real publisher of these types of masters for these exact scenarios of potential ass-biting to be honest.

So, no, I don’t like it. I want people selling my stuff like they own it because they do. If you own music and want to re-purpose it please do. But why not re-cut it into expected TV format and sell it to a proper exclusive library with sales, search, and broadcast (back-end) clients? Refuse to re-cut because you “channelled” something or claim “it would just feel like murder”? You are a precious lazy b*****d. It’s a reject of some kind. That’s why it’s sitting on your drive. Slap some make-up on and make a :30. If you get frustrated because you cannot re-cut a through-composed orchestral film score, just think what a TV editor will say.

Regardless of what type of library model you love or hate, consider this: you still have to go away and make amazing tracks appear out of thin air every day. None of these arguments apply to composers that are unaware of their music’s failure to meet the creative and technical requirements to be broadcast in the 21st century.

310 thoughts on “Should I Sign With A ReTitle Library?”

  1. Hey Chris,

    I’m thinking of going to NAB for the first time ever. I’m trying to get blanket licensing deals with networks and production companies for my library of instrumental tracks for background cues, and for my library of urban vocal-ups for source cues.

    Can I get your thoughts on the matter? Thanks!

  2. I’ve never got any royalties from anything I’ve ever composed or sold. However on average now, I make between $200 – $500 a month by selling my tracks on about 7 different sites – 2 of which make the majority of my income, and another 2 I’ve never sold anything on. Thats with about 40 tracks

    I’ve been at it for about 2 years now since I finished college, so I can see how a gradual build up over the years once you get more and more tracks, can definitively support you as a full time job.

    • Hey Emmet!
      I know someone in LA that has 500 tracks over a 17 year period.He posts at Gearslutz
      and I think his royalties look pretty good.What you have going is your youth.I’m an old school guy with tons of experience and 5 cds of stuff.I write with a guitarist/bassist, who is an awesome player but not tech savy.We have an amazing working relationship since the first time we played together as 18 year olds.We are both 52 now.So I wrote all those years making good money and not owning any of it,but the production was compromised to some extent IMO.All I can say is hang in there and if you can find someone who can do what you dont do well to collaborate with it can expand your creativity.Something to consider unless you can pay that person upfront for the expertise.Good food for thought!

      • Wow yea, I could well imagine that over a 17 year period it would mount up for sure. What I find hard is finding the time to compose, while keeping a full time job – I’m saving for my Composition Masters, so have to work 40 hrs a week, but then compose on top of that too so it gets tough. Lived at home there for a month a while ago, and it was great – got about 8 new tracks done. I suppose the balance between it all is what I find difficult.

        I’ve tried collaborations once or twice, but I always found they just never worked out. I find it easier to just do it all myself to be honest. So far, I’ve just gone by the mantra of “If it sounds good, it is good”. Works perfectly for library music anyway! Theres a few things I’m starting to pick up along the way aswell, such as when you finish a track, make a 30 sec + 60 sec version of it – it might take you a short while longer to do, but its definitively worth it in the long run. Also, keeping all of your original source files, really helps in the long run!

    • The Key is being prolific, even when you don’t have clients waving paychecks or a publicist shouting the “heal all” qualities of your music to all the right people. Work and work and work and before you know it years have gone by and you look back and say WOW, I have a much larger collection of works! Now I can throw out the crap and still have a good pool of tracks, now get back to work and make better ones;)

      As a client/project based producer I often find that no matter how many tracks I get of however a diverse set of styles, the next job opening always seems to be not quite exactly, or completely different from anything you have available. My very first paid music hire was for “Circus Music” and you can bet that took me by surprise…I sure didn’t have a CD of that layin around;)…but if someone ever asked me again, at least I have a sample and don’t have to scramble to make one on spot;) Just one example.

      • This is why I write with a partner.We challenge each other and the quality comes up from taking the criticsm.That said I am versatile enough to know how to stay genre specific if needed.Of course the best way to get work is if clients hire you for what you like to do most but all the playing in top 40 bands over the years,as well as jazz in school back in the day and the ongoing classical playing I do to keep up my chops helps immensely.

    • “I’ve been at it for about 2 years now since I finished college, so I can see how a gradual build up over the years once you get more and more tracks, can definitively support you as a full time job.”

      If you want to make a living at this, you need 200 plus tracks with a regular turnover. Thats not something your going to do quickly 😉

        • I spent my first year figuring the whole music tech side of it all out. I spent about half a year composing, then spent a year away in Oz. So I’ve only really been composing for about half a year or so, and with a full time job. So I don’t think 40 high quality tracks is bad for that.

          I’m composing about one new track per week on average now – also don’t think thats bad with a full time job. I think any quicker and quality begins to suffer. As I’ve said before, I make a lot more on a particular website, than a guy with 250 tracks on it. That just goes to illustrate the point that quality FAR outshines quantity in the music library business

  3. Okay DP, I’ll stop drilling you. I’m just always curious about big pay-offs. I’ve had a lot of TV placements (some Primetime), but they pale in comparison to your pay-offs.

    Whatever you’re doing, keep it up.

    Best, John

    • John:One reason I made that kinda money was I started back in 1992 and agreed on a % of what potentially might happen.Move to the present,it did happen albeit no contract and started dropping as 2008.Hell of a run.
      Best year was 1997 or 8.Made 300,000+.Best year ever.I think my former employer decided he and his wife were not going to ever pay out that kinda money to a independent contractor,me!I’m still getting paid but very very little in comparison,he admitted than he never knew exactly how to pay me,a huge gray area.When the royalties stop for good,I’ll spill the beans.Till then,Have a good day!

  4. Well, that’s that. Great comments from all. I feel bad for Yad (if he is truly the way he is). But he sounds like a kid. At least he acts like it. He’s vindictive, contractdictory, categoric: a nut. I agree with possible ruses but even so…you have to be a nut to do that as well. Like you said AM, so many problems I don’t know where to start. Whatever, I help people who deserve it and anyone who says there going to take and take until they have enough power to cheat back? Big mistake. Who cares his music just isn’t good enough that’s the fundamental issue. He doesn’t deserve the good advice we all gave off ourselves. Thanks Yad you actually taught me something: don’t engage in online shootouts with trolls whose sole purpose are online shootouts re: self-empowering conflict initiation from the safety of your computer. Who’s going to NAB? Roll call!

  5. Hey DP,

    I’m not asking for your contact info, just the gig that made you $150,000- $200,000 a year for 15 years. Say for instance if it was the theme track for “Law and Order”. You should be proud to post that kind of success story. I definitely would.

    • It was not just one thing,it was many different commercials.It all adds up.
      I have heard,may have been from Chris Jones if he works for megatrax that a spot for the big commercials could generate as much as 500,000 for a world wide campaign.
      I also heard from my former employer whose lawyer saw a royalty statement from someone who had written a theme for one of the big primetime shows,dont know which one but he had cowritten the piece with 2 other people and his 3rd of the royalties on the performance only was yep….a million dollars,but then your sister better be having sex with the producer of the show……Don’t really know the ha ha ins and outs of how it really worked but seems to big a big payoff.I was blown away myself!

  6. Yeah,Everyone wants to know that.Now why would I spill the beans and create yet more competition.
    As SR Dhain has said,how well do you know them.
    Out of all the relationships my former employer had,only one of them really panned out into a profitable one over time.Thats after doing hundreds of commercials for a handful of companies.A few years back I went to a convention where these companies go and it was 1/3 the size it was 10 years ago.
    What everyone should know is TV advertising is a pay to play your product and when it doesn’t sell and your music is along for the ride,its done and ther is no money.
    When it does work it’s like a snowball effect,as the product sells, that royalty check can grow and continue until the company pulls the trigger on it.
    That said,I know that the one relationship that did pan out had told us when I did work there that he gets demos every week from composers trying to get in.
    You guys are like sharks,but I cant blame you 1 bit really.I’m still working some of these people currently and it took 2 years to get my 1st job.Better have some staying power.
    By the way guys,thanks for the positive comments.
    My brain seems to be thinking more clearly since………well thats a personal story.

  7. Thanks for your insight DP, but I was more interested in the kind of gigs you were getting that generate that kind of money, e.g., Disney movies, McDonald commerciales, etc…

  8. Well guys,onward!John,What I will share with you is that its wayyyyy more about the business and literally kissing ass.Most of the business types we did biz with knew very little about music,that is for the industry I wrote for.You still had to have fairly good music that fit picture and was delivered on time.The latter more important.
    Of course if everyones music is somewhat on a par,this is where your business acumen comes in and why the guy I worked for had tunnel vision when it came down to it, and the reason I’m gone and he’s still trying to make it happen.Much,much harder since the economic downturn.
    I never listened to yads music but if he hasn’t had much success,his music must,well not be very good.I have listened to some of the music by you posters,and some of it is good.
    Art,I checked out your music and Liked everything I heard.Emmet,checked yours and liked it as well as a few others.
    Some of the orchestral stuff I heard at some of the sites was downright awesome and my hats off to some of those guys.I am someone who loves to get my ass kicked by other talent out there.Its humbling.
    It all adds up to a learning experience and really thats what life is supposed to be about.
    Heres a phrase someone I did some broadway stuff once told me years ago:
    The only thing constant is change:
    Change is the only thing constant;
    I’m loving this healthy debate when you can have it across the globe.
    Keep on writing chumps and keep the comments coming!

  9. To be honest, I’ve always thought that Yadgyu is just some very clever guy who is trying to waste other composers time here by posting ridiculous stuff on here, and watching the chaos ensue. I’ve wanted to reply to a lot of his posts here, but just didn’t bother or else typing for a long time and its a total waste of time.

    Best thing is to just ignore him if he comes back. If he is actually genuine, then feel sorry for him. However, very hard to believe he is actually genuine – nobody can come out with that much bs – he even said he has a family (although he sounds like he is 15). Lots of stuff that doesn’t add up.

    Either way, Adios Yadgyu!

  10. Wow! 150 to 200 thousand dollars a year for the last fifteen years! That’s some success Dp. A big congratulations. Care to share some of your successes with us?

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