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Old 23rd August 2017
  #24
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Quote:
Originally Posted by goodkeys View Post
Good question. I am new to the business, and I am trying to figuring out what directions to take as I go.

What I liked about the exclusive libraries I worked with:

Awesome distribution network. Good subpublishers worldwide.

The library takes care of the titling, artwork, meta-tagging, PRO registration etc. That's a nice help if you are new to this, plus it is time you can spend composing instead of managing your tracks.

I know that they are going to actively market my tracks, not just have them sitting in their catalogue.

Great interaction to create an album concept that we both wanted to do. If you are new and don't know yet what sells thats an important help.

Great feedback on the tracks sent in.

The downside is that you run the risk of sinking your tracks. If you sign them away exclusively and they don't get placements, there is nothing you can do about it.

With non-exclusive libraries, the composer seems to have to do a lot of this work himself/herself (titling, meta tagging, managing your tracks, keeping track of where you placed your songs under what title). But you keep more control over your tracks. Is that about right?

I have had some good experiences working with exclusive libraries so far. But maybe I am missing out?
Your assessment seems right. I've had trouble with what I bolded above. I'm in a couple of the "bests" libraries out there, and had them completely drop the ball on my music. Nothing I can do about it. Some of my best work - a huge portion actually - essentially gone forever. Making pennies at best. The paradigm of signing away my music exclusively is less and less appealing at this point. I'll still do it from time to time, but there are a lot of other horizons that I find more appealing at this point.