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APM or Pump Audio
Old 1st July 2009
  #1
Gear Head
 
DavidG79's Avatar
 

APM or Pump Audio

Hi Everone,
I have about 22 full tracks in the hands of both Pump Audio and APM (through indie911). I need to submit missing documents to complete the contracts but I have to choose one of these libraries. I have heard great things about Pump. They do not require exclusive contract, which means that I can submit the same music to other non-exclusive libraries. However, their contract gives only 35% of licensing fee to the composer. APM, on the other hand gives 75% to the composer, but they require exclusive contract. My concern with that is that I don't want to put all my eggs in APM's basket if there is no guarantee of usage. My music is outstanding, though, and I believe that it will definitely sell.
What should I do? Go ahead with APM or leverage out my music non-exclusively to various libraries including Pump.
Thanks.
Old 1st July 2009
  #2
Lives for gear
 

Quote:
Originally Posted by DavidG79 View Post
Hi Everone,
I have about 22 full tracks in the hands of both Pump Audio and APM (through indie911). I need to submit missing documents to complete the contracts but I have to choose one of these libraries. I have heard great things about Pump. They do not require exclusive contract, which means that I can submit the same music to other non-exclusive libraries. However, their contract gives only 35% of licensing fee to the composer. APM, on the other hand gives 75% to the composer, but they require exclusive contract. My concern with that is that I don't want to put all my eggs in APM's basket if there is no guarantee of usage. My music is outstanding, though, and I believe that it will definitely sell.
What should I do? Go ahead with APM or leverage out my music non-exclusively to various libraries including Pump.
Thanks.
Among producers I work with the word on APM is that they are too expensive and too restrictive in their contracts, and Pump deals seem more to their liking. The editors have been happy w/ the Pump music, and from what I've heard in the shows I've done you'd be in good company. Flexibility is good.

Philip Perkins
Old 1st July 2009
  #3
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dan p's Avatar
 

Non exclusive is better for sure,a reversion clause in your contract with apm would be good if after 1 or 2 years there's no movement in placing your tracks.


Dan P
Old 1st July 2009
  #4
Gear Guru
 
drBill's Avatar
Both libraries have too much music in them to get noticed easily. Pump was good for a long time, but I'm hearing lately that people are putting music in and not seeing a dime.

Don't put all your eggs in one basket.
Old 1st July 2009
  #5
Gear Head
 
DavidG79's Avatar
 

Quote:
Originally Posted by dan p View Post
Non exclusive is better for sure,a reversion clause in your contract with apm would be good if after 1 or 2 years there's no movement in placing your tracks.


Dan P
Non-exclusive sound great, but are there legit libraries out there willing to go that route? It seems like I wouldn't be able to contract these tracks with other good libraries if I decide to go with Pump anyway. Are there other good libraries willing to go non-exclusive like Pump? I also fear that my tracks would get lost in obscurity with a big library like APM. What do you think?
Old 1st July 2009
  #6
Gear Guru
 
drBill's Avatar
The game is changing. It's anyone's guess as to what is going to stick in 5 years. Companies like Pump may rule the roost, or they may not get the traction that traditional libraries have.

I'll give you the same advice I did before. Don't put all your eggs in one basket.
Old 3rd July 2009
  #7
Gear Maniac
 
pbell's Avatar
 

Whats the address for this Pump Audio, I've never heard of it. I found a Pump Audio on google, just want to make sure its the right one.
Old 4th July 2009
  #8
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dan p's Avatar
 

Quote:
Originally Posted by drBill View Post
The game is changing. It's anyone's guess as to what is going to stick in 5 years. Companies like Pump may rule the roost, or they may not get the traction that traditional libraries have.

I'll give you the same advice I did before. Don't put all your eggs in one basket.
This is the best advice here, and continue building your own set of cds.


Dan P
Old 6th July 2009
  #9
Quote:
Originally Posted by DavidG79 View Post
Hi Everone,
I have about 22 full tracks...
If 22 tracks are "all your eggs" then you need MORE eggs!!!!! Put these 22 in either library. Write 22 more, put them in the other library. You are never going to make a TON of money with 22 songs regardless of which library you put them in. So to really not "put all your eggs in one basket" you need a lot more eggs and spread them out over more companies.

The key to music licensing is VOLUME (and I don't mean loudness)!!! I think Dr Bill said he has over 500 songs out there in circulation and he's starting to see a decent return now. The company I work at has over 20,000 and grows by a few hundred EVERY THREE MONTHS!!!

Look at your 22 songs as 22 shares. Sure that's great... but 22 shares of any stock isn't going to make you a ton of money. And if you would say to any broker, "I want to buy 22 shares of stock, but I don't want to put all my eggs in one basket, so how should I diversify my 22 shares?" The broker is going to ask, "uh, did you say TWENTY TWO? ...Call me back when you are talking about 22,000 or maybe 220,000..."
Old 7th July 2009
  #10
Gear Head
 
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Quote:
Originally Posted by Etch-A-Sketch View Post
If 22 tracks are "all your eggs" then you need MORE eggs!!!!! Put these 22 in either library. Write 22 more, put them in the other library. You are never going to make a TON of money with 22 songs regardless of which library you put them in. So to really not "put all your eggs in one basket" you need a lot more eggs and spread them out over more companies."
Thanks Etch, that's really awesome advice here. It hit home a lot. I'll take the advice and run with it. I'm fairly new to the game, but I'm not going to let anything discourage me. I'll keep writing until I break through. Thanks again.

Last edited by DavidG79; 7th July 2009 at 01:05 PM.. Reason: Addition
Old 7th July 2009
  #11
Quote:
Originally Posted by DavidG79 View Post
Thanks Etch, that's really awesome advice here. It hit home a lot. I'll take the advice and run with it. I'm fairly new to the game, but I'm not going to let anything discourage me. I'll keep writing until I break through. Thanks again.
Exactly!!! that's the spirit!!! The more music you have out there, the more money you can/will make.
Old 7th July 2009
  #12
Also too... don't let the "deal" they offer be the discouraging or deal-breaking factor.

Every company has it's own sales force. and each sales person has their forte. It could very well end up that you make MORE money from the company with the crappier deal, simply because their sales people are better at placing your type of music.

That's another reason why you should have at least some music in EVERY library that will accept it. It gives you a chance to test the waters with each company and see who can really pimp your tracks hard.

One of my friends that I know who makes a lot of money in library has most of his music with a company that offers, what I would consider, a real crappy deal. It's much worse than the two you mentioned. BUT!!! the company is so good at placing his tracks that he still makes A LOT of money from the placements and so it's worth it for him to continue placing his tracks with them.

That's why I say, give every scenario a shot at least once. It's only 10 or 20 songs at most. See which companies bring you the biggest return... those will be the ones that keep coming back to you for more music. And as those tracks become successful, other companies will want to jump on that band-wagon. "Oh, his tracks have been making a ton of money for XYZ company, we need to get some of his tracks in our library so we can start making some of that money too!!!! Let's hire him to do a CD for us!!!" And so it begins... ;-)
Old 7th July 2009
  #13
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dan p's Avatar
 

Quote:
Originally Posted by Etch-A-Sketch View Post
Also too... don't let the "deal" they offer be the discouraging or deal-breaking factor.

Every company has it's own sales force. and each sales person has their forte. It could very well end up that you make MORE money from the company with the crappier deal, simply because their sales people are better at placing your type of music.

That's another reason why you should have at least some music in EVERY library that will accept it. It gives you a chance to test the waters with each company and see who can really pimp your tracks hard.

One of my friends that I know who makes a lot of money in library has most of his music with a company that offers, what I would consider, a real crappy deal. It's much worse than the two you mentioned. BUT!!! the company is so good at placing his tracks that he still makes A LOT of money from the placements and so it's worth it for him to continue placing his tracks with them.

That's why I say, give every scenario a shot at least once. It's only 10 or 20 songs at most. See which companies bring you the biggest return... those will be the ones that keep coming back to you for more music. And as those tracks become successful, other companies will want to jump on that band-wagon. "Oh, his tracks have been making a ton of money for XYZ company, we need to get some of his tracks in our library so we can start making some of that money too!!!! Let's hire him to do a CD for us!!!" And so it begins... ;-)
Funny Etch,i've been recently forwarded to one of megatrax off shoot companies.
Just because i've been forwarded doesnt mean anything unless you are contacted but i'm sure it would be possible to follow up.



Dan P
Old 7th July 2009
  #14
Quote:
Originally Posted by dan p View Post
Funny Etch,i've been recently forwarded to one of megatrax off shoot companies.
Just because i've been forwarded doesnt mean anything unless you are contacted but i'm sure it would be possible to follow up.



Dan P
Which one? We have four that we produce in-house (Megatrax, The Scene, Sensacion and Marquee) and four that we just represent/sell (Beat Bites, Intervox, Amusicom, and RIOT).
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