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Old 5th December 2018
Lives for gear

Originally Posted by lewis_foster View Post
@ Etch-A-Sketch - cheers for your thoughtful note.

- If a type of distribution becomes required that wasn't included in the original license, then yes - of course - clearance for the additional distribution must be granted via a new/custom license.

- Getting clearance for a specific number of edits of a single ad/production is catered for in our license-builder system.

- You are totally right, similar to the stock sites you list, Music Vine is clearly a platform intended to provide folks with a convenient way of accessing great production music. For the vast majority of small-to-medium scale production companies, going through the process of getting a customised license for each and every video simply isn't a viable, practical option. That is who our platform serves. We are fundamentally different to the stock sites you list because we take great care with building our catalogue, our UX, our license structure is much more comprehensive & variable, we invest a lot of time in assisting and working directly with our artists.

What we do is different to what you do. There will always be a place for high-end & very specifically selected / bespoke music that requires custom licensing & a premium for such service. I agree that for larger commercial usages we have a responsibility to consider our price-point very carefully, or whether it's appropriate to have off-the-shelf licenses at all.

@ UnderTow - with respect, democratising is totally different from crude undercutting. The reality is that video industry has evolved hugely within the last 10 years - with a huge amount more content being created for much smaller-scale commercial usages. We are catering to that evolution by seeking to marry convenience with fair pricing and quality. Custom licensing is not a practical option for a huge proportion of video production companies/freelancers out there.

@ Desire Inspires - Feel free to keep track buddy. We've been off to a good start.

I've been talking with local production companies in small town Eugene, Oregon. Their bread and butter work is producing micro budget stuff for non-profits, local businesses, etc. There's enough work in Eugene to sustain a handful of production companies, but none of them are working on large projects. I imagine this is true for every 200k population town in the world.

It makes sense to service this market. They're never going to hire a composer and they often need to turn stuff around quickly. One click platforms serve them very well.

But if Music Vine is servicing larger projects with relatively inexpensive licenses, it is contributing to the downward pressure. You might rationalize it one way or another but in my experience $4119 is very inexpensive for an international broadcast ad license with 10 edits and no specified term.

The flip side of the coin is that, for composers, working with Music Vine might be more profitable than working with a library that doesn't share sync. Yes, a premium library might charge more for the same license, and that license might be renewed several times for additional fees, but the composer doesn't see any of that money; the value of their music remains high but they don't benefit from it.

My limited experience with this model has resulted in a higher dollar per track average than any other model.

It's a crazy world out there.