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BMG Production Music UK
Old 11th May 2019
  #1
Gear Nut
 

BMG Production Music UK

Is it just me or is BMG Production Music UK not all that great in terms of results?

I have more than an album's worth of music with them and hardly any of it has been used in the UK, while the same tracks have been used a lot in other countries.

What has your experience been like?
Old 11th May 2019
  #2
Gear Head
 

That's very anecdotal. 1 album doesn't mean ANYTHING.
Old 12th May 2019
  #3
Gear Maniac
 

Quote:
Originally Posted by youngrichyrich View Post
That's very anecdotal. 1 album doesn't mean ANYTHING.
what about more than 1 album

Quote:
Originally Posted by ohwell View Post
I have more than an album's worth of music with them
Old 12th May 2019
  #4
Send in more music.
Old 12th May 2019
  #5
Lives for gear
 

Quote:
Originally Posted by ohwell View Post
Is it just me or is BMG Production Music UK not all that great in terms of results?

I have more than an album's worth of music with them and hardly any of it has been used in the UK, while the same tracks have been used a lot in other countries.

What has your experience been like?
The upfront payment should be enough to tide things over until the royalties come in..

There was an upfront payment right?
Old 12th May 2019
  #6
Gear Nut
 

Ok ok.

I spoke to a publisher. They have about 1,000 tracks with them. They said it's not going so well.

The same tracks have been used extensively in the US and Asia.

Go figure...
Old 12th May 2019
  #7
Gear Nut
 

Quote:
Originally Posted by JohnFulford View Post
The upfront payment should be enough to tide things over until the royalties come in..

There was an upfront payment right?
$3k isn't going to cut it for long term earnings from an album, so the up front isn't helping at this point if they don't make anything else. It's been long enough now for royalties to start coming. Or do you live off up fronts only?
Old 12th May 2019
  #8
Gear Head
 

Quote:
Originally Posted by lornemalvo View Post
what about more than 1 album
Depends on a variety of factors. I'd say 30 tracks is enough to judge if your music fits with a library.

The music also has to be really good. Great music gets used more.
Old 12th May 2019
  #9
Lives for gear
 
Amber's Avatar
 

Quote:
Originally Posted by ohwell View Post
$3k isn't going to cut it for long term earnings from an album, so the up front isn't helping at this point if they don't make anything else. It's been long enough now for royalties to start coming. Or do you live off up fronts only?
Well, if that's the only album you do. Idea is to keep doing them (whether it's work for hire or advances) to tide you over.

Ideally doing several albums a year is key I think.
Old 12th May 2019
  #10
Gear Nut
 

Quote:
Originally Posted by youngrichyrich View Post
Depends on a variety of factors. I'd say 30 tracks is enough to judge if your music fits with a library.

The music also has to be really good. Great music gets used more.
Yea I have about that with them.
Old 12th May 2019
  #11
Gear Nut
 

Quote:
Originally Posted by Amber View Post
Well, if that's the only album you do. Idea is to keep doing them (whether it's work for hire or advances) to tide you over.

Ideally doing several albums a year is key I think.
Actually this made me think of another interesting question.. how many albums/tracks a year does everyone do?
Old 12th May 2019
  #12
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by ohwell View Post
how many albums/tracks a year does everyone do?
100 on a bad year. 300 on a really busy year.
Old 12th May 2019
  #13
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Amber's Avatar
 

Quote:
Originally Posted by drBill View Post
100 on a bad year. 300 on a really busy year.
How many tracks do you have in total?
Old 13th May 2019
  #14
Lives for gear
 

Quote:
Originally Posted by ohwell View Post
$3k isn't going to cut it for long term earnings from an album, so the up front isn't helping at this point if they don't make anything else. It's been long enough now for royalties to start coming. Or do you live off up fronts only?
I could absolutely live off of front only. I'm no longer worried about how much money I make...I'm trying to spend six-figures a year on buying music for my catalogue. Although I might be a chump since I actually want to pay for music. Too many people give their tracks away for free. Now I search a composers PRO catalogue before I work with them...if they're involved in a bunch of "free" libraries I retract my offer to pay them anything. They'd be ripping me off if they accepted money from me while not accepting money from my competitors.
Old 13th May 2019
  #15
Quote:
Originally Posted by Amber View Post
How many tracks do you have in total?
I think Dr Bill is up over 40,000 now, right Bill?
Old 13th May 2019
  #16
Lives for gear
 
Amber's Avatar
 

Quote:
Originally Posted by Etch-A-Sketch View Post
I think Dr Bill is up over 40,000 now, right Bill?


Not bad I guess................

But seriously. 40k is insane. Also DrBill, I've had two people rave to me about your Silver Bullet in the past month. I had a no more gear this year policy too...
Old 13th May 2019
  #17
Quote:
Originally Posted by Amber View Post


Not bad I guess................

But seriously. 40k is insane. Also DrBill, I've had two people rave to me about your Silver Bullet in the past month. I had a no more gear this year policy too...
I just checked his BMI... 42,483 registered works. Bill is such a slacker!

LOL.
Old 13th May 2019
  #18
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by Amber View Post
How many tracks do you have in total?
I dunno, let's ask Etch.....

Quote:
Originally Posted by Etch-A-Sketch View Post
I think Dr Bill is up over 40,000 now, right Bill?
Hmmmm.....

Quote:
Originally Posted by Amber View Post


Not bad I guess................

But seriously. 40k is insane.
40k seems low.... I don't even count music cues that have been written specifically for TV or Film. Those are one off's that generally never get used outside the episode / film, so there are a BUNCH of those in that total. But I think I have maybe.....2200 or so unique titles SPECIFICALLY in libraries.

At say....200 a year, on average - that's approx. 1.5 albums a month -- for's 11 straight years, pretty much 365 days a year writing and producing music. That's the grind of the century. No wonder I feel old.

Oh wait.....

Quote:
Originally Posted by Etch-A-Sketch View Post
I just checked his BMI... 42,483 registered works. Bill is such a slacker!

LOL.
Yeah. You know, I do kinda feel like a slacker. It should be up over 50k. BTW, of note, I have one publisher that registers EVERY alt track and cutdown as separate titles. Then they sub publish, the the sub publishers do the same. That's how I woke up one day and had 30k titles. LOL

If you added up all the TV cues that are group registered, and cues in films, all unique, I'd have maybe 3500 or so. Still, that's a huge number.


Quote:
Originally Posted by Amber View Post
Also DrBill, I've had two people rave to me about your Silver Bullet in the past month. I had a no more gear this year policy too...
You should listen to them. I keep looking at my "no more gear" policy, and I've given up. I just bought 4 tube mic pre's a Zenier Diode comp, and added a rack of Mr Focus's. Had to tear apart and rewire the desk just to make room. And then, just this afternoon I made a $40k microphone list. It will take me a decade to fill it out probably, but I really don't have any other expensive / destructive habits (besides motorcycles), and it helps make the music better and make $$$$ when people say you can't make money in music.

I don't have to tell you, we do have to be fairly ITB to do the kinds of numbers it takes to survive. But I was really not happy with the ITB / VSTi "composer mixing" generally as I started to transition away from consoles to working ITB. I can usually hear it a mile away - and I hate it. I'm an old school LFAC kind of guy, and the Silver Bullet essentially makes it easy to get the sound of driving an API/Neve into their sweet spot. It makes my mixes more polished, more record like, and just DIFFERENT than the thousands of laptop ITB mixes flooding the production market every month. It gives me something I can't do writing production music and mixing on a console. (Takes too long) I'll take every advantage if I can!!!

Brainstorming and designing the silver bullet with Brad McGowan at LTL has given me a new lease on mixing life, and I'm ALL OVER it. I've got 5 now. So I can just mix live as I don't have to "print tracks". I just put em on the important stuff, drop hardware compressors and EQ on the other stuff, put one on the mix bus, and another on the mastering buss, and rock!!

Jeff has one too. There's probably more guys here who are keeping it secret.
Old 13th May 2019
  #19
Lives for gear
 
Amber's Avatar
 

Quote:
Originally Posted by drBill View Post


You should listen to them. I keep looking at my "no more gear" policy, and I've given up. I just bought 4 tube mic pre's a Zenier Diode comp, and added a rack of Mr Focus's. Had to tear apart and rewire the desk just to make room. And then, just this afternoon I made a $40k microphone list. It will take me a decade to fill it out probably, but I really don't have any other expensive / destructive habits (besides motorcycles), and it helps make the music better and make $$$$ when people say you can't make money in music.

I don't have to tell you, we do have to be fairly ITB to do the kinds of numbers it takes to survive. But I was really not happy with the ITB / VSTi "composer mixing" generally as I started to transition away from consoles to working ITB. I can usually hear it a mile away - and I hate it. I'm an old school LFAC kind of guy, and the Silver Bullet essentially makes it easy to get the sound of driving an API/Neve into their sweet spot. It makes my mixes more polished, more record like, and just DIFFERENT than ITB mixes. It gives me something I can't do writing production music and mixing on a console. (Takes too long)

Brainstorming and designing the silver bullet with Brad McGowan at LTL has given me a new lease on mixing life, and I'm ALL OVER it. I've got 5 now. So I can just mix live as I don't have to "print tracks". I just put em on the important stuff, drop hardware compressors and EQ on the other stuff, put one on the mix bus, and another on the mastering buss, and rock!!

Jeff has one too. There's probably more guys here who are keeping it secret.
I'm pretty much 100% ITB, I don't come from a studio/hardware background all, my introduction was Logic 8 and that's it. But have amassed a small fortune of boutique pedals I run stuff through now and have re-discovered my love of guitar. Surprising how quickly I can write with 'my' instrument. My output is around 120-150 tracks a year at moment (but not been doing it anywhere near as long as you) and am at point where I'm looking for that extra 5 or 8% here or there to push my production to the next level. Nice DI, Preamps, even nicer cables. Real players here and there. I figured the Silverbullet could save me buying Api and Neve style rack units...

Would you say they work in a way that I could use just one on masterbus and when it came to printing, just put each stem through it and end up with a similar FULLMIX when they're summed?

I think SX Pro here in London might let me demo one.
Old 13th May 2019
  #20
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by Amber View Post
I'm pretty much 100% ITB, I don't come from a studio/hardware background all, my introduction was Logic 8 and that's it. But have amassed a small fortune of boutique pedals I run stuff through now and have re-discovered my love of guitar. Surprising how quickly I can write with 'my' instrument. My output is around 120-150 tracks a year at moment (but not been doing it anywhere near as long as you) and am at point where I'm looking for that extra 5 or 8% here or there to push my production to the next level. Nice DI, Preamps, even nicer cables. Real players here and there. I figured the Silverbullet could save me buying Api and Neve style rack units...

Would you say they work in a way that I could use just one on masterbus and when it came to printing, just put each stem through it and end up with a similar FULLMIX when they're summed?

I think SX Pro here in London might let me demo one.
120-150 is nothing to sneeze at. (As we say in the states...) That will get you there. So keep at it!!!


IMO, the Silver Bullet takes me way more than 5-8%, but I'm biased, and I've been working with it for years. If you take it off or bypass my mix buss chain, I cry like a baby....

Yes, there are a bunch of guys who have sold off mic pre's and EQ's after they implemented the SB into their workflow. Check out the manual. It talks a lot about workflow, and how, why, and where to implement a simple analog chain into your ITB workflow. https://cdn.shopify.com/s/files/1/05...49964346378014 I go a lot further, but you don't HAVE to. A Silver Bullet on the mix buss will translate perfectly across your stems - unlike a compressor which is more "threshold" dependent to get the gain reduction.

if you can demo one, I'd definitely suggest giving it a go for a week or two. It's simple to use, and once your ears adapt to the analog vibe it imparts, you'll no doubt not want to give it back. LOL

If not, contact Brad @ LTL and tell him you want to demo a unit. All it will cost you is shipping from the states - unless we have one in the UK. We may just have one there right now. Streaky (UK Mastering guru) just did a review against the SSL Fusion, and I believe it might still be in the UK. Brad would know. Or Russ @ Sociatech.
Old 13th May 2019
  #21
Deleted 11f77bb
Guest
+1 on anything LTL puts out. Absolutely great gear. Wish I could afford a stack of 'Bullet's!!

As far as song counts go, working full time on music 10 hours a day, I do between 200-300 a year, but only release about 50 of those as artist singles and albums. I only fully finish and master the best of the best of those that truly fit with my artist-ic direction.. a narrowing it down sort of process. Anyway, I now have like 2500 90% finished songs sitting on storage drives. Not sure if I should myself or for joy?! Hence my recent interest in getting into the "music for picture" sector of the industry...
Old 13th May 2019
  #22
Lives for gear
 
Amber's Avatar
 

Quote:
Originally Posted by drBill View Post
120-150 is nothing to sneeze at. (As we say in the states...) That will get you there. So keep at it!!!


IMO, the Silver Bullet takes me way more than 5-8%, but I'm biased, and I've been working with it for years. If you take it off or bypass my mix buss chain, I cry like a baby....

Yes, there are a bunch of guys who have sold off mic pre's and EQ's after they implemented the SB into their workflow. Check out the manual. It talks a lot about workflow, and how, why, and where to implement a simple analog chain into your ITB workflow. https://cdn.shopify.com/s/files/1/05...49964346378014 I go a lot further, but you don't HAVE to. A Silver Bullet on the mix buss will translate perfectly across your stems - unlike a compressor which is more "threshold" dependent to get the gain reduction.

if you can demo one, I'd definitely suggest giving it a go for a week or two. It's simple to use, and once your ears adapt to the analog vibe it imparts, you'll no doubt not want to give it back. LOL

If not, contact Brad @ LTL and tell him you want to demo a unit. All it will cost you is shipping from the states - unless we have one in the UK. We may just have one there right now. Streaky (UK Mastering guru) just did a review against the SSL Fusion, and I believe it might still be in the UK. Brad would know. Or Russ @ Sociatech.
Streaky actually masters some of my stuff. He wasn't one of the people I was mentioning but I noticed he's been using one recently.

I'll figure something out and let you know come PRS time! Pretty sure SX have them so I could buy/return as a worst case scenario.
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