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Old 17th February 2017
  #31
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I suggest a class on "How to make 100,00k a year, not work as hard as JohnF, and live somewhere nicer than LA". LOL

John, I think you working way too hard.
Old 17th February 2017
  #32
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Quote:
Originally Posted by librarymusictips View Post
Thanks for the tips John. I can see what I've been doing wrong all these years now!

1) - You make a great point! I am really positive and focused and would never make fun of Spotify royalties. EVER! Being an optimist, I look at the BIG picture! I see 0.00000034 pence as being a small slice of a big cake, rather than just a miniature blueberry muffin.

2) - Unfortunately, I didn't realize there were 2 major players who come on here. Can you tell me who they are and I will try and impress them with some of my Locked Up Abroad cues? Thanks.

3) - My music is alright. Not better than some of the competition but better than some of the competition. But if the ultimate goal was to be better than all the competition, there would be just one composer left standing wouldn't there? I am not sure if it logically possible for everyone to be better than the competition.

4) - I never cold called ever! I am just crap on the phone due to my unfortunate speech impediment (I am unable to pronounce the letter 'm'). I dunno how Extreme would feel about me cold calling everyday but I will give it a go next week and report back!

5) - My overnight pizza delivery job allows me to spend the days cataloguing Apple Loops, honing my Stylus patterns and polishing my Sylenth patches. So there is much to be said for a non-music related job that allows time to do all those wonderful things.

6) - I will hit the town! However, being based in Stornoway this does present some problems as my town has a population of 56 - 34 of whom are sheep farmers. Nevertheless, I will get some T-Shirts made with 'Library Music Tipz' on the front and 'COOL BEATZ" on the back and distribute them to the church choir and members of the local Rotary club.

My last attempt at networking was somewhat unsuccessful :( I recall going to our local Spar store and stocking up on Sellotape. Whereupon, I engaged the young lady behind the counter in conversation and told her about library music. She said she was very fond of libraries and thanked me for reminding her her Harry Potter book was overdue. I looked at her quizzically and said: 'fine'.

"56 pence!" came the reply. You can imagine my confusion at this point and so I made my excuses and left. I haven't networked since tbh.
If you had a better attitude I'm sure the big money library folks on this forum would reach out
Old 17th February 2017
  #33
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Since the ASCAP board elections are coming up, how about a panel on how we can dominate the boards and have a bigger voice in decision making at the PRO's. We dominate music plays on TV and other formats, yet the payouts are still shrouded in mystery and the ever elusive "premium use." The reason I get a crapload of music from international PRO's every year is becuase they just pay what they pay, doesn't matter if it's U2, Sting, or me. Not so in the US. We need to get the old guard, protecting their old songwriting catalogs out. How can we organize? How can we truly make a difference? We basically need a board of 75% Doug Wood.
Old 17th February 2017
  #34
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Thread Starter
Quote:
Originally Posted by VitaEtMusica View Post
How can we organize?
the PMA.
Old 17th February 2017
  #35
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Quote:
Originally Posted by JohnFulford View Post
$100,000 per quarter in writers PRO monies
$100,000 per quarter in publishers PRO monies
$200,000 per year in syncs/upfront WFH fees etc..

Or any combo thereof

It's like that game Othello, easy to learn, hard to master..

1) Cut ALL negativity out of your life. Every musician I know who used to complain about streaming, make fun of their spotify royalties etc.. etc.. is now working full time in Real Estate, legal weed or SEO consulting. All of the millionaire musicians i know are FOCUSED. An exception to this is when a certain PRO lowered the background vocal rates overnight, in the middle of two payment periods. That was unacceptable and more underhanded than a BMG exec who used to work at APM after a career in loan sharking (no disrespect to loan sharks).

2) Build your brand. At least two big money libraries are active on this forum. They know you as "librarymusictips"....they know me as JohnFulford. I made $25K last year from those libraries' up front fees, not counting the backend which should come. Your music might be better than mine, you might be more fun to hang out with, but they know my name and hired me.

3) Make music better than your competition. I get so many submissions from musicians that use the same tired ass RMX Loops, Apple Loops, Sylenth patches number 1-1 1-6 and 1-42. As soon as i hear that played out RMX hi hat loop that you can hear in most episodes of Locked Up Abroad, i lose the musicians number and go out of my way never to speak with them again. It's a waste of time.

4) Cold call EVERYDAY. Only cold email if you can't reach the person on the phone in a timely fashion.

5) No lucrative "day gig" that has nothing to do with music. Working at Starbucks or Chipotle is fine. An "easy come, easy go" job should be enough to pay the bills for a year or two while you get your production music revenue streams up to par.

6) Hit the town. I met literally 6 new music industry people in the last 24 hours. I have to get better at this, since it's super easy to hang around the studio all day doing music and paperwork etc..

I got some new custom John Fulford x New Era snapback hats. UPS delivered them last night and i hit a rock show downtown. The 4 people who complimented me on the hat got a free hat. Two people i had met that night for the first time. One was from Secret Road, a company routinely mentioned in this forum for landing lucrative syncs and being especially hard to "get in with".

Walking to my car i saw two gents who i recognized from a pre-Grammy party I attended last week. I walked up to them and introduced myself. Two new contacts.

Today at the Beverly Center i was getting something gift wrapped. Two gentlemen were in the elevator, one had a hat on featuring a treble clef. I asked if he did music, surprisingly he designed the treble clef hat himself. I was wearing my Fulford x New Era hat (it says MUSIC on the front in a large font).

Turns out they're both published R&B songwriters who had a single come out last Friday. I went on iTunes and bought the single. Their manager should be in contact for some TV/Film work i can hire them for..
This right here is "gold". The moderators should literally make this post from John a sticky. Heck, John I am going to recommend you moderate a panel on this very topic!!! the title can be something like "What networking REALLY means: the keys to successfully getting music placed and making money in the music licensing/library space".
Old 17th February 2017
  #36
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Quote:
Originally Posted by Etch-A-Sketch View Post
the PMA.
Meh. I saw what happened at the PMC. Not impressed. Even the guys they had in talking as keynotes and arguing for the consent decree weren't even from the music library industry. WTF? It's the same **** that happens with the PRO's. Are we supposed to be starstruck by the a film composer and a lead singer of a band? Gotta really get organized and talking solutions, not just bitching.
Old 17th February 2017
  #37
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Quote:
Originally Posted by Etch-A-Sketch View Post
the PMA.
Another thing I hate about the PMA is the members' propensity for saying one thing, then doing another when they break from their huddle. In the end, it's every man for himself in the PMA.
Old 17th February 2017
  #38
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Quote:
Originally Posted by librarymusictips View Post
6) - I will hit the town! However, being based in Stornoway this does present some problems as my town has a population of 56 - 34 of whom are sheep farmers.
Even though you are being sarcastic, this does bring up a good point for a lot of people reading this forum. So I'm going to use this comment as a spring board to talk about this situation that a lot of people find themselves in.

You write phenomenal music. you have tons of chops. but you live east of the middle of nowhere... what do you do?

This is something I realized in my teens. Work is NEVER going to come to you. You have to go to it. You have to HUSTLE to get it. doesn't matter if you want to work in software, telecommunications, government, film/TV, music, aerospace, robotics, etc.

I have a friend that has his PhD in artificial intelligence/neural networks/robotics. He also has about 4 or 5 bachelor's degrees and I think about 4 master's degrees before he went for his PhD. What did he have to do for his PhD?? He had to !@#$ing move to Japan and learn japanese! Why? Because that is where all the cutting edge research, development and advancements are happening for that field.

I know a few other people that are really into technology and the web. They all have startups... What did they do? They !@#$ing moved to San Fransisco and open shop in silicon valley.

I know A TON of musicians, composers, sound engineers, songwriters... What did all of them do??? they all !@#$ing moved to Los Angeles. And actually, a few of them after becoming successful here in LA have since moved out of LA. A couple have moved to Nashville now... Dr Bill moved to Arizona... I know one guy who moved to Austin. BUT!!! they all started here and became successful here in LA.

I am not from Los Angeles. I am from Boston. If I stayed in Boston, I would be working at a software company or a college doing IT or Administration, and I would be playing music at dive bars on the weekends for $25~$50 per night. How do I know this? Because LITERALLY every other person that I know from the music scene back in Boston that stayed there, is doing that. Two guys are firefighters, one guy is a system admin and salesforce database programmer for a very large university in boston, another is a forensic IT guy for a huge law firm. Two guys I know are engineers (one software, the other civil). And so on.

Yet... I took that leap of faith and moved to LA... and so what do I do? Am I a system admin? Am I a civil engineer? am I a firefighter/EMT? No... I am a music producer, sound engineer and composer. And that is what I do for a living, nothing else.

How could I accomplish this miraculous feat that most people only dream of? I put myself in front of the eight ball and made it happen. I HAD to move to where the work is. I had to get myself out there and meet people, and make friends and make connections. Everything John mentions in his post all of us had to do and continue to do every day. That is a big part of the job.

Yes, the internet is connecting us all on a much bigger scale, so now we can do business with people around the world. But face to face is still super important. Amber and Jazz4 and I met face to face when I went to London... John Fulford posted some videos a couple months ago about his trip to south east asia where he was setting up sub publishing deals for himself.

So even though you can email and Skype... nothing is more powerful and important than face to face. And when you are looking to start getting into the business... you need to be face to face every day... so you HAVE to go where the work is.

You cannot live in "Stornoway" (or any small remote town) and expect to have the world rushing to your door to hire you. It just doesn't work like that. When you are out of sight, you are unfortunately out of mind. So you need to be in sight, every day.

Anyway... rant over... I guess I should add this topic as one of the bullet points for John's panel!
Old 17th February 2017
  #39
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Quote:
Originally Posted by VitaEtMusica View Post
Another thing I hate about the PMA is the members' propensity for saying one thing, then doing another when they break from their huddle. In the end, it's every man for himself in the PMA.
Well yeah, it's not a trade union. It's like the RIAA... or think of it like a Super PAC. It's the place where we can all focus our energy to lobby on behalf of the industry... when the PMA starts to try and set guidelines for "rules" for operating businesses within the industry it can't really work. But as a lobby, it can be very effective.

That is how the PMA was formed originally... and they lobbied ASCAP and were EXTREMELY successful. Now if they can get hundreds of thousands of composers to join together with them in lobbying ASCAP and BMI... just imagine how powerful that will be. Imagine if ALL the PMA libraries and composers approached ASCAP together and said, "change this or we are all moving to SESAC immediately". They would FREAK! One all of us one at a time threaten to do something like that it has very little weight... when all of us together threaten to do it... watch out.
Old 17th February 2017
  #40
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Quote:
Originally Posted by Etch-A-Sketch View Post
Well yeah, it's not a trade union. It's like the RIAA... or think of it like a Super PAC. It's the place where we can all focus our energy to lobby on behalf of the industry... when the PMA starts to try and set guidelines for "rules" for operating businesses within the industry it can't really work. But as a lobby, it can be very effective.

That is how the PMA was formed originally... and they lobbied ASCAP and were EXTREMELY successful. Now if they can get hundreds of thousands of composers to join together with them in lobbying ASCAP and BMI... just imagine how powerful that will be. Imagine if ALL the PMA libraries and composers approached ASCAP together and said, "change this or we are all moving to SESAC immediately". They would FREAK! One all of us one at a time threaten to do something like that it has very little weight... when all of us together threaten to do it... watch out.
I get it. When UMPG did it, they didn't seem to care much... in public anyway. I guess my point is, why get together and talk about doing things a certain way as good business practice, then go out and do something different? Retitling, direct licenses, enterprise deals, etc, etc, etc. It seems like a massive waste of time and effort. I don't really have any solutions, so my best path forward seems to be- screw everyone else, we're here to make money by any means. That seems to be the MO of all the major players at the PMA. Hey, everyone play by this set of rules, but we'll do our own thing and mess you all over. Screw that.
Old 18th February 2017
  #41
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Quote:
Originally Posted by VitaEtMusica View Post
Since the ASCAP board elections are coming up, how about a panel on how we can dominate the boards and have a bigger voice in decision making at the PRO's. We dominate music plays on TV and other formats, yet the payouts are still shrouded in mystery and the ever elusive "premium use." The reason I get a crapload of music from international PRO's every year is becuase they just pay what they pay, doesn't matter if it's U2, Sting, or me. Not so in the US. We need to get the old guard, protecting their old songwriting catalogs out. How can we organize? How can we truly make a difference? We basically need a board of 75% Doug Wood.
I second this wholeheartedly, and would ask BMI to the table as well.
Old 18th February 2017
  #42
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Quote:
Originally Posted by Etch-A-Sketch View Post
I know A TON of musicians, composers, sound engineers, songwriters... What did all of them do??? they all !@#$ing moved to Los Angeles. And actually, a few of them after becoming successful here in LA have since moved out of LA. A couple have moved to Nashville now... Dr Bill moved to Arizona... I know one guy who moved to Austin. BUT!!! they all started here and became successful here in LA.
This is absolutely true. (but come on Etch - NORTHERN AZ. I like the desert, but I don't want to LIVE there. )

But moving to LA will not automatically net you a career. Moving to LA and pulling a "John Fulford" (networking and cold calling) might well get you there though. I don't think most will see 7 figures though. There are EXTREMELY talented people in LA who are barely making it that should be replacing the A call composers out there. They are literally THAT good - and yet - barely making it. Being in LA is almost crucial for a feature film composer that's starting out - but there are a lot of variables that come into play which will determine your success much more than talent will.

Now, in opposition to what I just said, "being successful" in the music biz is not necessarily the best thing ever. I know many many very miserable composers, musicians, directors, etc. that have "made it big" and are NOT loving life. Personally, I am exponentially happier, more fulfilled in life, having more fun, and experiencing "LIFE" much more outside of LA. But, yes, I did get successful in LA first.....


PS - I must echo Etch's "face to face" comments. The internet is a nice start, but nothing moves you forward like personal real relationships.
Old 19th February 2017
  #43
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Quote:
Originally Posted by JohnFulford View Post
$100,000 per quarter in writers PRO monies
$100,000 per quarter in publishers PRO monies
$200,000 per year in syncs/upfront WFH fees etc..

Or any combo thereof

It's like that game Othello, easy to learn, hard to master..

1) Cut ALL negativity out of your life. Every musician I know who used to complain about streaming, make fun of their spotify royalties etc.. etc.. is now working full time in Real Estate, legal weed or SEO consulting. All of the millionaire musicians i know are FOCUSED. An exception to this is when a certain PRO lowered the background vocal rates overnight, in the middle of two payment periods. That was unacceptable and more underhanded than a BMG exec who used to work at APM after a career in loan sharking (no disrespect to loan sharks).

2) Build your brand. At least two big money libraries are active on this forum. They know you as "librarymusictips"....they know me as JohnFulford. I made $25K last year from those libraries' up front fees, not counting the backend which should come. Your music might be better than mine, you might be more fun to hang out with, but they know my name and hired me.

3) Make music better than your competition. I get so many submissions from musicians that use the same tired ass RMX Loops, Apple Loops, Sylenth patches number 1-1 1-6 and 1-42. As soon as i hear that played out RMX hi hat loop that you can hear in most episodes of Locked Up Abroad, i lose the musicians number and go out of my way never to speak with them again. It's a waste of time.

4) Cold call EVERYDAY. Only cold email if you can't reach the person on the phone in a timely fashion.

5) No lucrative "day gig" that has nothing to do with music. Working at Starbucks or Chipotle is fine. An "easy come, easy go" job should be enough to pay the bills for a year or two while you get your production music revenue streams up to par.

6) Hit the town. I met literally 6 new music industry people in the last 24 hours. I have to get better at this, since it's super easy to hang around the studio all day doing music and paperwork etc..

I got some new custom John Fulford x New Era snapback hats. UPS delivered them last night and i hit a rock show downtown. The 4 people who complimented me on the hat got a free hat. Two people i had met that night for the first time. One was from Secret Road, a company routinely mentioned in this forum for landing lucrative syncs and being especially hard to "get in with".

Walking to my car i saw two gents who i recognized from a pre-Grammy party I attended last week. I walked up to them and introduced myself. Two new contacts.

Today at the Beverly Center i was getting something gift wrapped. Two gentlemen were in the elevator, one had a hat on featuring a treble clef. I asked if he did music, surprisingly he designed the treble clef hat himself. I was wearing my Fulford x New Era hat (it says MUSIC on the front in a large font).

Turns out they're both published R&B songwriters who had a single come out last Friday. I went on iTunes and bought the single. Their manager should be in contact for some TV/Film work i can hire them for..
LOL ... you're an energy bunny.
Old 19th February 2017
  #44
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Quote:
Originally Posted by peter5992 View Post
LOL ... you're an energy bunny.
yes he is - and its a common trait amongst those in the biz who are making any decent money. I've talked at a lot of panel over the last 18 months and gave a keynote one month ago. Its been the common thread running through all of my talks; "your talent doesn't matter. "

Always gets a shock response but I do generally clarify it - it's also about the work that goes with it, John Fulford style....
Old 20th February 2017
  #45
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Quote:
Originally Posted by Etch-A-Sketch View Post
This right here is "gold". The moderators should literally make this post from John a sticky. Heck, John I am going to recommend you moderate a panel on this very topic!!! the title can be something like "What networking REALLY means: the keys to successfully getting music placed and making money in the music licensing/library space".
LETS DO IT...just me and a moderator/interviewer, preferably someone from Billboard or Variety so we can score some press. I'll give a frank discussion on exactly what it takes to succeed.

I can get two of the big LA based audio engineering schools to make attendance mandatory for their students (as long as we offer a deep discount so they can buy tickets)..
Old 20th February 2017
  #46
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Quote:
Originally Posted by narcoman View Post
yes he is - and its a common trait amongst those in the biz who are making any decent money. I've talked at a lot of panel over the last 18 months and gave a keynote one month ago. Its been the common thread running through all of my talks; "your talent doesn't matter. "

Always gets a shock response but I do generally clarify it - it's also about the work that goes with it, John Fulford style....
It's true..I'm sure we all know musicians that would gladly come and help you paint your house for $40 and ham sandwich...but try and hire them to do MUSIC and they'll make every excuse not to work...

Remember friends....it may be a holiday in the USA tomorrow, but in London, Toronto and Hong Kong it's a normal working day...

Start calling!!
Old 21st February 2017
  #47
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The trouble is, I'm always a bit concerned about coming across as pushy by calling...and usually go for the coward's way of emailing. For example, a few weeks ago, I emailed a big UK library that had an album out last year featuring a few tracks that I co-wrote with a friend. I sent a link to a showreel and pitched an idea for a library album too re a style which they hardly have any of, but no reply. I'm tempted to email again as a follow up, especially considering that I got an auto reply notifying me that the person I contacted was out of the office for a week, but I know that calling would be more effective, as long as I grow a pussy to do it - after all, pussies do take much more of a pounding than balls...
Old 21st February 2017
  #48
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Quote:
Originally Posted by PetM View Post
The trouble is, I'm always a bit concerned about coming across as pushy by calling...and usually go for the coward's way of emailing. For example, a few weeks ago, I emailed a big UK library that had an album out last year featuring a few tracks that I co-wrote with a friend. I sent a link to a showreel and pitched an idea for a library album too re a style which they hardly have any of, but no reply. I'm tempted to email again as a follow up, especially considering that I got an auto reply notifying me that the person I contacted was out of the office for a week, but I know that calling would be more effective, as long as I grow a pussy to do it - after all, pussies do take much more of a pounding than balls...
Are you more concerned about coming across as pushy, or being broke? Make that call, get the gig, cash the check.
Old 21st February 2017
  #49
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Quote:
Originally Posted by JohnFulford View Post
Are you more concerned about coming across as pushy, or being broke? Make that call, get the gig, cash the check.
We currently have a writer that is hitting us up every month or so. The music and production don't quite line up with what we're doing. I've said that I'm not interested, but the emails keep coming. Gotta understand that I have an email folder with hundreds of people asking for work. I feel like I know who the real deal composers are and what they are capable of doing. I'm always open to finding new talent, but getting hit up over and over and having to reject calls from writers that have found my # is a massive turn off. If you've emailed one to three times with some space in between, I think that's good enough and it's definitely not annoying. After that...

Here's the thing that doesn't get said much- getting constantly hit up for work is, for me anyway, extremely stressful. I feel very responsible for my composers and their livelihood. I know what it's like to be scrappy and barely make it through the month. I've lived it, and am highly sensitive to it. But there's only so much work to go around, and the projects and slots fill up as we plan out the year with the budget we have.

Send your emails, make your calls, but if it isn't happening in one place, move on to the next. If your music is good enough, you'll land in the right spot.
Old 22nd February 2017
  #50
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Thread Starter
Quote:
Originally Posted by JohnFulford View Post
LETS DO IT...just me and a moderator/interviewer, preferably someone from Billboard or Variety so we can score some press. I'll give a frank discussion on exactly what it takes to succeed.

I can get two of the big LA based audio engineering schools to make attendance mandatory for their students (as long as we offer a deep discount so they can buy tickets)..
Hell yeah man! I might know a couple other people who work and hustle as hard as you do that might be good to have up there with you. If you hear one person say it, it's "that is what worked for him". If you hear 4 or 5 people all saying the same thing then it's "damn, I gotta get off my ass and do this!" LOL
Old 22nd February 2017
  #51
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Thread Starter
Quote:
Originally Posted by PetM View Post
The trouble is, I'm always a bit concerned about coming across as pushy by calling...and usually go for the coward's way of emailing. For example, a few weeks ago, I emailed a big UK library that had an album out last year featuring a few tracks that I co-wrote with a friend. I sent a link to a showreel and pitched an idea for a library album too re a style which they hardly have any of, but no reply. I'm tempted to email again as a follow up, especially considering that I got an auto reply notifying me that the person I contacted was out of the office for a week, but I know that calling would be more effective, as long as I grow a pussy to do it - after all, pussies do take much more of a pounding than balls...
There is a difference between being pushy/obnoxious and being professional. I tell a lot of people to email me again if they don't hear from me after a couple of weeks.

Here's the thing, and I'm sure Vita has this same problem... I get between 100 to 300 new emails every day. And these aren't spam... these are legit, from a person, sent directly to me, emails. Some are work related in that they are concerning projects I'm currently working on or clients who are looking for music. At any given time I'm working on 10 to 15 albums simultaneously all at different stages. I usually produce about 60~80 albums a year now, with releases every 2 months. That works out to 10 to 13 albums every two months plus custom work, plus contracting and planning upcoming albums, plus fixing and checking previous albums... I also am getting more and more involved in marketing, metadata, publishing, international sub publishing, etc... So on top of just producing albums I am also involved and have meetings and action items for marketing, publishing, fulfillment, metadata/SEO, and licensing. On top of getting emails about all of that, I also get a lot of composers who are submitting music. What ends up happening, is that I run out of time in the day to get down through all the new emails I received that day that didn't directly pertain to all the current fires I'm trying got put out on that particular day. And sometimes because of that, emails fall through the cracks. It's not intentional, but it happens. So I tell composers, if you send me an email and you don't hear back from me after a week or two... ping me again. Sometimes I saw the email but didn't have time to respond or work on listening to the demos yet... sometimes i just never saw the email but when I search my inbox I find it, and so on.

With music libraries, everyone is trying to do as much as they can with the fewest resources as possible. So there are a lot of people who are wearing 3 hats or 5 hats... and at the end of the day composers are not the clients, they are the vendors. So client requests and issues always have to come first because they are the ones signing the checks... composer issues come second because they are the ones cashing our checks.

Sometimes it helps to keep that in mind when submitting. It's not that people in music libraries are jerks and ignore everyone... it's usually just that we are just swamped and don't have time. It's nothing personal.

So if you are nervous about coming across as being pushy, just be polite and do what I call "checking in". Hey, just checking in to see if you received that email I sent you? That's all you need to do.

At the end of the day, libraries need good composers to keep the work coming and composers need good libraries to keep the money coming in. It's a symbiotic relationship.
Old 22nd February 2017
  #52
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Quote:
Originally Posted by Etch-A-Sketch View Post
There is a difference between being pushy/obnoxious and being professional. I tell a lot of people to email me again if they don't hear from me after a couple of weeks.

Here's the thing, and I'm sure Vita has this same problem... I get between 100 to 300 new emails every day. And these aren't spam... these are legit, from a person, sent directly to me, emails. Some are work related in that they are concerning projects I'm currently working on or clients who are looking for music. At any given time I'm working on 10 to 15 albums simultaneously all at different stages. I usually produce about 60~80 albums a year now, with releases every 2 months. That works out to 10 to 13 albums every two months plus custom work, plus contracting and planning upcoming albums, plus fixing and checking previous albums... I also am getting more and more involved in marketing, metadata, publishing, international sub publishing, etc... So on top of just producing albums I am also involved and have meetings and action items for marketing, publishing, fulfillment, metadata/SEO, and licensing. On top of getting emails about all of that, I also get a lot of composers who are submitting music. What ends up happening, is that I run out of time in the day to get down through all the new emails I received that day that didn't directly pertain to all the current fires I'm trying got put out on that particular day. And sometimes because of that, emails fall through the cracks. It's not intentional, but it happens. So I tell composers, if you send me an email and you don't hear back from me after a week or two... ping me again. Sometimes I saw the email but didn't have time to respond or work on listening to the demos yet... sometimes i just never saw the email but when I search my inbox I find it, and so on.

With music libraries, everyone is trying to do as much as they can with the fewest resources as possible. So there are a lot of people who are wearing 3 hats or 5 hats... and at the end of the day composers are not the clients, they are the vendors. So client requests and issues always have to come first because they are the ones signing the checks... composer issues come second because they are the ones cashing our checks.

Sometimes it helps to keep that in mind when submitting. It's not that people in music libraries are jerks and ignore everyone... it's usually just that we are just swamped and don't have time. It's nothing personal.

So if you are nervous about coming across as being pushy, just be polite and do what I call "checking in". Hey, just checking in to see if you received that email I sent you? That's all you need to do.

At the end of the day, libraries need good composers to keep the work coming and composers need good libraries to keep the money coming in. It's a symbiotic relationship.

How awesome would it be if someone cold called and said "I'd love a job doing your METADATA....i don't care about writing music, just doing the METADATA"

You can probably guess what I'm doing right now.
Old 22nd February 2017
  #53
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Quote:
Originally Posted by VitaEtMusica View Post
We currently have a writer that is hitting us up every month or so. The music and production don't quite line up with what we're doing. I've said that I'm not interested, but the emails keep coming. Gotta understand that I have an email folder with hundreds of people asking for work. I feel like I know who the real deal composers are and what they are capable of doing. I'm always open to finding new talent, but getting hit up over and over and having to reject calls from writers that have found my # is a massive turn off. If you've emailed one to three times with some space in between, I think that's good enough and it's definitely not annoying. After that...

Here's the thing that doesn't get said much- getting constantly hit up for work is, for me anyway, extremely stressful. I feel very responsible for my composers and their livelihood. I know what it's like to be scrappy and barely make it through the month. I've lived it, and am highly sensitive to it. But there's only so much work to go around, and the projects and slots fill up as we plan out the year with the budget we have.

Send your emails, make your calls, but if it isn't happening in one place, move on to the next. If your music is good enough, you'll land in the right spot.
Hey Vita,

In all seriousness next time they call feel free to give them my email address, I'll see if i can use them on a project I'm working on

Last edited by JohnFulford; 22nd February 2017 at 02:56 AM.. Reason: Spelled address wrong
Old 22nd February 2017
  #54
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Quote:
Originally Posted by JohnFulford View Post
How awesome would it be if someone cold called and said "I'd love a job doing your METADATA....i don't care about writing music, just doing the METADATA"

You can probably guess what I'm doing right now.
LOL, I know right!!! The problem is though, Metadata is Sooooo super important and each company, and even each catalog within each company, has a different slant on how the metadata is done which is a whole different way the music gets "branded". It's pretty crazy.

Also, believe it or not there is actually a company that does only metadata as a service for libraries as well as record labels and radio stations and stuff. I actually just met with them, they are very impressive and it is extremely interesting stuff.
Old 24th February 2017
  #55
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Quote:
Originally Posted by librarymusictips View Post
Yes John, thanks! Let's hope so!

I am desperate to break 3 figures in 2017.
I'm typically laughing pretty hard whilst reading your posts and this was no exception. Keep up the good work sir
Old 25th February 2017
  #56
Quote:
Originally Posted by JohnFulford View Post
Every musician I know who used to complain about streaming, make fun of their spotify royalties etc.. etc.. is now working full time in Real Estate, legal weed or SEO consulting.
I can't necessarily blame people for giving up on a music career. It is a long and difficult road that can result in little advancement.

If something else leads to wealth and independence, then go with that. Music isn't going to work out for most of us. There is nothing negative in realizing that.
Old 25th February 2017
  #57
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Quote:
Originally Posted by Desire Inspires View Post
I can't necessarily blame people for giving up on a music career. It is a long and difficult road that can result in little advancement.

If something else leads to wealth and independence, then go with that. Music isn't going to work out for most of us. There is nothing negative in realizing that.
For sure, i don't blame any one for giving up, if it's not for them who am I to have any opinion on it whatsoever? To be frank I prefer that people give up because that makes more air time available for us lifers..

This guy asked me how to make a million dollars a year doing library music. I wrote him a blueprint (for free btw) because i thought he was seriously asking. Instead he thinks it's some kind of joke..
Old 25th February 2017
  #58
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If you REALLY want to make a million dollars a year in the music biz, your best bet is to sell stuff to musicians who desperately want to believe in the dream. Even the mega stars are having difficulty making big bux these days. The real money is all in ancillary spin off deals like Jayz did.

John - I'm not sure how your post was a "blueprint" other than saying - "make a million dollars in music. There. You made a million dollars!!!" LOL Getting $100k a quarter in writers and 100k a quarter in publishers? OK? Really? Let's start there. How do you make $100k a quarter in writers? How many composers are doing that who aren't household names? So maybe, the plan should have been how to become a household name? How do you do that? I know a few composers working on episodic TV for networks making maybe a couple hundred thou a year writers back end - but that's backbreaking work, and only 1/4 of what you mentioned.

Bottom line, along with all the hard work you suggested which is great BTW, there's a little thing called luck involved. Making a living is possible with a lot of hard work. Making $1,000,000 a year is waaaay deep into the luck region and IMO should be stated as such. But what the heck do I know. I've just been doing it in LA for 3+ decades. Never pushed anywhere close to a million or even a fraction - except the year I sold my house.

Maybe that's it. Buy studio property. Wait 30 years. Sell property. Make a million in the "studio" (real estate) biz.

Hell, these "blueprints" are going to get you as close as anything else IMO.
Old 25th February 2017
  #59
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Quote:
Originally Posted by drBill View Post
If you REALLY want to make a million dollars a year in the music biz, your best bet is to sell stuff to musicians who desperately want to believe in the dream. Even the mega stars are having difficulty making big bux these days. The real money is all in ancillary spin off deals like Jayz did.

John - I'm not sure how your post was a "blueprint" other than saying - "make a million dollars in music. There. You made a million dollars!!!" LOL Getting $100k a quarter in writers and 100k a quarter in publishers? OK? Really? Let's start there. How do you make $100k a quarter in writers? How many composers are doing that who aren't household names? So maybe, the plan should have been how to become a household name? How do you do that? I know a few composers working on episodic TV for networks making maybe a couple hundred thou a year writers back end - but that's backbreaking work, and only 1/4 of what you mentioned.

Bottom line, along with all the hard work you suggested which is great BTW, there's a little thing called luck involved. Making a living is possible with a lot of hard work. Making $1,000,000 a year is waaaay deep into the luck region and IMO should be stated as such. But what the heck do I know. I've just been doing it in LA for 3+ decades. Never pushed anywhere close to a million or even a fraction - except the year I sold my house.

Maybe that's it. Buy studio property. Wait 30 years. Sell property. Make a million in the "studio" (real estate) biz.

Hell, these "blueprints" are going to get you as close as anything else IMO.
I'm shooting YouTube vids today...I'm gonna answer this is depth on a video. Thanks for the idea!! Video coming!!
Old 25th February 2017
  #60
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drBill's Avatar
Cool John. Looking forward to hearing what I'm doing wrong. Your video should have fresh, outside the box ideas - not rehashed models of old school successes - cause the guys I know who were getting into that $1M a year zone 20 years ago are making way less now. Except for the fact that their real estate deals are smoking hot right now.....

Oh, and if you can break it down into 10 attainable steps that are easy to understand and execute - it would help for those of us who have a hard time grasping vague concepts.

All that said, I'm having way more fun making LESS being outside the rat race these days. But I'm sure there are many that will be appreciative.

Scratch that. I am interested, but I won't be taking the necessary steps. Still, I'm intrigued.....

Of course, YOU are consistently making a Mil+ a year in music right? I hate taking advice from someone who's not actually living it. Seems so much like an infomercial otherwise.

Cheers, bp
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