The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
5 Questions about PROs from a newbie Dual-Channel Preamps
Old 8th August 2014
  #31
Gear Maniac
 

Hey etch a scratch, thanks again for these insights! Probably a redundant question, but do you compose/license your music as a full time job?

Another thing I don't like about RF is that I'll usually never find out where my music will be used (except I use Adrev but I don't know if I want to monetize my music, well at least I could use tunesat for TV monitoring), and I hate that. I know only one RF site which tells you the real names of the buyers and this one is productiontrax. On other sites you usually wont even get a nickname.
Even worse, some RF sites don't even tell you which track you just sold....
(just wondering, non-RF sites will allways tell you where the track will be used right? I mean I could see it on my PRO payout sheet anyway.)

Also, as stated earlier, I think RF is fine for people who just start out in the stock music market, as you'll make your first sales most likely MUCH quicker and will fastly see what people buy and what they don't. And I think a newbie needs this kind of confirmation as fast as possible.
If you would start out for example with libraries like pump or music dealers you would likely have to wait one year or even way longer for your first sale.

Btw, I just bought the book of Emmett Coke, excellent stuff, highly advised for beginners!
Old 8th August 2014
  #32
Lives for gear
 
jazz4's Avatar
 

Quote:
Originally Posted by freshdax View Post
I know only one RF site which tells you the real names of the buyers and this one is productiontrax. On other sites you usually wont even get a nickname.
Even worse, some RF sites don't even tell you which track you just sold....
(just wondering, non-RF sites will allways tell you where the track will be used right?
Audiosparx sends you every transaction notification with the corresponding cue sheet.

Also, no, not every non-RF library will tell you where your tracks have been used. You will see the relevant info on your royalty statement from your PRO, however.
Old 8th August 2014
  #33
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by freshdax View Post
Even worse, some RF sites don't even tell you which track you just sold....
VERY few if any big time Exclusive libraries running in traditional paradigms tell you if a track has sold. One, because you're not sharing in the sync royalties, and two, because they are more into selling blankets instead of needle drops. So THEY don't even know when music is getting used until they get their PRO statement or until a production company submits a cue sheet to them. Which more often than not does not happen.
Old 8th August 2014
  #34
Lives for gear
 
Sam Watson's Avatar
Excellent thread guys! Thanks for all the clarification and useful reading material, Bill & Derek.

Cheers,
Sam
Old 9th August 2014
  #35
Quote:
Originally Posted by freshdax View Post
Hey etch a scratch, thanks again for these insights! Probably a redundant question, but do you compose/license your music as a full time job?
I work as a full time (actually these days its even more than full time! LOL) sound engineer and producer, mainly for the music library industry. I would compose more but I'm always so busy producing and engineering other composers' music I never have time to write for myself. I do have some music in libraries already. If you ever see "Perfect Holiday" with Queen Latifah (airs every christmas season), they use one of my tracks in the movie as a featured use and I have a credit in the credit scroll. I also get used a lot by "Randy Jackson's American's Top Dance Crew" on MTV. They use one of my cues in almost every episode. The LA Lakers use one of my cues in a lot of their regional and national promotion campaigns too. And then I see a lot of random uses here and there from A&E, history channel, Discovery, TNT, etc. And I a get fair amount of use in Europe, Japan and Australia.

Coincidentally, I have two CDs I'm writing right now for library, which its been fun to get back to composing. But out of the 12 projects that I'm currently working on for library, only two of them I'm a composer on, the other 10 I'm tracking/editing/mixing and/or overseeing the production and post-production. As I finish these 12, more will come in. At any given time I'm usually working on 6 to 10 library projects simultaneously, all at different stages of production. Since moving to LA 13 years ago, I've done a little over 300 CD of music (with each CD averaging 15 to 20 songs) for library in pretty much every genre you can imagine. It's been a blast, I love it! I get bored working on the same type of music day in and day out. I used to work in the record industry but just got sick of doing 10 artists and all of them sound EXACTLY the same! Hahaha... In library, one week I'm tracking a 50 piece orchestra, the next week it's a 20 piece big band, and then I'm on to a heavy metal project, and then to a Gospel CD, and then I'll do some hiphop, and then a blues project, and then some Mexican CDs, and so on...It's always different and it's always changing. It never gets boring. And it's cool to watch TV and just constantly keep hearing music that I've done, even when I'm in other countries.
Old 9th August 2014
  #36
Gear Maniac
 
Evil Jack's Avatar
Thanks Derek, Sam, Bill - really appreciate the info.
Old 9th August 2014
  #37
Lives for gear
 
Lorenzop's Avatar
 

Great Infos!
Also, thanks to Etch for his generosity.

I have a question:
Is it at all possible for a composer to basically go indipendent, and sell/licence directly his "library" music whilst retaining full rights over his works? In other words, be his own RF/PF free (or not, as he sees fit) library?

Assuming its theoretically possible, is it viable in the real world? Would production companies (assuming they manage to come across his tracks) even bother to deal with an indipendent library? Or do they all just scour the known RF/PF sites?
Old 9th August 2014
  #38
Gear Maniac
 

Lorenzop,
well, you could also make up your own music licensing shop at youlicense.com, you would have to pay 30 $ for six months but it's absolutely zero commision rate. Of course one could also make up a custom music shop on his own.

Quote:
That is great! Join a PRO as soon as possible!! I don't see why you would have to wait? You can still write music and give it to RF sites... just don't give your RF music to your PRO libraries and don't give your PRO libraries music to your RF sites.
Yup, it's real nice! I wrote a couple more libraries and I'm anxious the same thing will happen if I'll get accepted :(
After all it really looks like I just HAVE to register with one. Problem is that for the PRO in my country I'll need a TV placement BEFORE I can register with them and I don't had any TV placements yet, at least not one I know of (maybe I even had 3 or more as I sold some extended licenses on audiojungle, but I have no clue where the pieces were used). Another problem is that, even if I'm able to track down a TV usage of my music, I'm not sure if I can tell the PRO of this usage, cause I sold all my music as RF and maybe they would want to earn royalties afterwards? I mailed my potential PRO about this topic, but didn't got any reply so far.
Old 9th August 2014
  #39
Lives for gear
 
Lorenzop's Avatar
 

Quote:
Originally Posted by freshdax View Post
Problem is that for the PRO in my country I'll need a TV placement BEFORE I can register with them and I don't had any TV placements yet,

Is this normal? Sounds like a Circulus Circle - how do you get on tv if you can't register with a PRO?


But does it make any sense to go indipendent? Any other services like youlicence.com? I guess if going indipendent, you really must register with a PRO.
Old 11th August 2014
  #40
Lives for gear
 
Edward Shnapper's Avatar
 

So much great info!! Greatly appreciated! Legendary replies.

I guess the ultimate would be to cut out any middle man including exclusive libraries and create your own 'mini library' depending on how much content you have. Other than the fact that you may not have many contacts who will buy the music are there any other issues?

Anybody successfully doing this? And is it possible to sell your own music from a website while still submitting to exclusive libraries?

How do exclusive libraries usually make there profit? Collecting royalites or taking a percentage of the original sale?
Old 11th August 2014
  #41
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by Edward Shnapper View Post
I guess the ultimate would be to cut out any middle man including exclusive libraries and create your own 'mini library' depending on how much content you have.
Yup. Sounds great on paper....


Quote:
Originally Posted by Edward Shnapper View Post
Other than the fact that you may not have many contacts who will buy the music are there any other issues?
Well, no contacts? That's going to be a deal killer. But beyond that, your other issues to deal with will be : Contacts, Contracts, Marketing, Management, Sales staff, Music Supervision, Collections, Custom Licenses, International sub publishers, and on and on. That's why the majority of these new startups are going no-where.

Quote:
Originally Posted by Edward Shnapper View Post
Anybody successfully doing this? And is it possible to sell your own music from a website while still submitting to exclusive libraries?
Yeah. Usually people with loads of contacts, credits out the ying-yang, enough support staff to help them, and no real "need" for a personal library cause they are already very in demand. Think Zimmer....

Quote:
Originally Posted by Edward Shnapper View Post
How do exclusive libraries usually make their royalties profit? Collecting royalties or taking a percentage of the original sale?
Yes and yes. And it's not a SALE. It's a sync license. There is a HUGE difference. If you're "selling" your music, it's a one time deal as ownership changes and you no longer have any rights to it. If it's a license, you can do it over and over again.

Re: where are the profits coming from...... Although it's generally held close to the vest and is not general public knowledge, most traditional music libraries get roughly 50% of their income from Sync Licenses and 50% from back end PRO royalties. This is of course always changing, as the business morphs faster than I can type....so maybe a moot comment.
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump