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Old 13th October 2015
  #61
Here for the gear
 

Quote:
Originally Posted by Etch-A-Sketch View Post
A - You do whatever you want, send them albums worth of material. they can choose to buy it off you or not depending on their clients demands/needs. And sometimes they might cherry pick different cuts from the different genres you've written and submitted.

B - They contract you to write something specific for them by a specific deadline for a specific use or purpose.

It sounds like you think the only way to do it is B, and aren't looking at A. When in fact, 9 times out of 10 you will get your foot in the door doing A, and then sometimes they might ask you to do B, but it's not like they are going to stop calling you if you say no to B.
That's good.

Quote:
Originally Posted by Etch-A-Sketch View Post
You can submit tracks every day of the week, but it's more effective to submit them as a collection with a theme. Otherwise you are just being lazy, get organized already!
Strange way of putting it. It has nothing to do with laziness. Single tracks that stand out by themselves is what some composers do best, especially ones who like to go from dubstep to mellow piano the same week. Others like writing full albums in the same style.

Quote:
Originally Posted by Etch-A-Sketch View Post
Why would a youtube user want some random unknown person's music for their kid's Bday video when they can use a famous track from a famous artist that they love?
Because they want to monetize that video or they don't like Bieber's voice. And for the same reason your local TV ad doesn't use a famous artist: it's way more expensive. You can use famous artists music today directly from YouTube but no YouTuber earning money from their videos would do that because they can't monetize.

Quote:
Originally Posted by Etch-A-Sketch View Post
Also, your comparison a while ago to Amazon, iTunes and the like was off base. Amazon iTunes, etc do not demand 50% ownership in the copyright. They sell the music and take a small percentage. They aren't allowed to license it for use on the internet nor for use on TV and Film.
iTunes and Amazon sell personal listening licenses and iTunes takes 30%. Smaller than 50, yes, but not small.

You must be referring to a particular RF library that you really don't like. Can you point to an agreement where they want 50% of your copyright? I know some operate in questionable ways, yes, but there are many out there and they are very, very different. You cannot say "RF libraries work like this". Not all Americans eat hamburgers every day.

I have full control over my music and I can remove it after writing this sentence if I wish.

Quote:
Originally Posted by Etch-A-Sketch View Post
They actively aggregate music to artificially inflate their value above and beyond what the P/L statements would dictate their value to be. Then they sell.
And MT or KT could never sell? And if they did, I'm sure every composer would surely get their share?

Quote:
Originally Posted by Etch-A-Sketch View Post

But when they lease, they only charge one month's rent from the renter and let them stay in the apartment for as long as they want without ever charging them rent ever again. So you split one month's rent with the realtor and that's it.
Except you can rent out that same apartment to 20,000 people.

Quote:
Originally Posted by Etch-A-Sketch View Post
Maybe that is why I've been seeing huge increases in internet licensing fees while you haven't. You are trying to sell your music to the lowest common denominator (youtube end users) while I'm selling music to advertisers and production companies who are selling stuff to those youtube end users. That would make sense as to why we are seeing different trends...
First of all, I'm trying to license my music to everyone, and I am. From McDonald's, Nike, to little Peter's YouTube clip.

Could you give examples of YouTubers buying music from these advertisers and production companies?

I'm not talking about Samsung airing their ads on YouTube - I'm talking about the millions and millions of private YouTubers who license music themselves. I have sold expensive licenses to big companies that includes YouTube use but there aren't a million of them...

Broadcast is slowly dying and I think it's wise to at least have a foot in the new world.
Old 13th October 2015
  #62
Gear Maniac
 

Quote:
Originally Posted by oscarproducer View Post
Thanks, I did send a link to my showreel to 5 or 6 companies listed in the PMA about a month ago. Haven't heard back from any of them. And that's why I end up going with RF companies too..:-)
It helps to actually send these companies a full album of already done music, similar, but different to what they already have. Usually sending a showreel won't do much. They get hundreds a day. But a pre-made, packaged album that they can picture in their library, then they might hit you back
Old 13th October 2015
  #63
Gear Maniac
 

Quote:
Originally Posted by livide View Post
It helps to actually send these companies a full album of already done music, similar, but different to what they already have. Usually sending a showreel won't do much. They get hundreds a day. But a pre-made, packaged album that they can picture in their library, then they might hit you back
Thanks for the tip. I did think about that and might do so.

Cheers.
Old 13th October 2015
  #64
Quote:
Originally Posted by Boomanji View Post
Strange way of putting it. It has nothing to do with laziness. Single tracks that stand out by themselves is what some composers do best, especially ones who like to go form dubstep to mellow piano the same week. Others like writing full albums in the same style.
Yes, I tend to switch up what I write from day to day. It would take me a while to write an album of songs in one style. But I am putting away songs here and there to submit a new album to a few PMA libraries.

I really don't see the battle between exclusive old-school publishers and non-exclusive new school RF companies. Why not do both?

If a composer regularly makes music, it shouldn't be too difficult to make two or three albums for the PMA type libraries and have 50 to 100 cues for the RF libraries in a year's time.
Old 13th October 2015
  #65
Here for the gear
 

Quote:
Originally Posted by Desire Inspires View Post
I really don't see the battle between exclusive old-school publishers and non-exclusive new school RF companies. Why not do both?
Yup, that's what I might try to do, hence all the questions (and the heated debate that followed...).
Old 13th October 2015
  #66
Gear Maniac
 

Quote:
Originally Posted by Desire Inspires View Post

If a composer regularly makes music, it shouldn't be too difficult to make two or three albums for the PMA type libraries and have 50 to 100 cues for the RF libraries in a year's time.
I don't think that that output will make you a living... I could be wrong though. I've done 5 albums for PMA libraries since September. Trying to shoot for 20-25 albums for 2016.
Old 13th October 2015
  #67
Quote:
Originally Posted by livide View Post
I don't think that that output will make you a living... I could be wrong though. I've done 5 albums for PMA libraries since September. Trying to shoot for 20-25 albums for 2016.
Do you compose for other libraries outside of the PMA libraries too?
Old 13th October 2015
  #68
Gear Maniac
 

Quote:
Originally Posted by Desire Inspires View Post
Do you compose for other libraries outside of the PMA libraries too?
Yeah, a few.. I've signed with I think 4-5 PMA libraries since July, so I've just been getting into them now that my music is better
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