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Old 1st September 2012
  #7
Here for the gear
 

I think the two target markets are completely different and I don't think you should try to sell the same thing to both. If you're selling production music, the clients will mostly be TV producers, directors and editors; they won't want split tracks, they'll want a mastered stereo track; an alternate 29 second version is a bonus (this is the most common length for a TV commercial), 39, 19 and 9 seconds versions might be useful also (there's half a second of silence at the start and end of every TV commercial).

With sample libraries its more important to have split tracks; maybe loopable regions? To be honest its a market I've never produced for. Maybe you could write a clause into the licence that you'll get a 5% share of sales if the track makes a lot of money, but I think thats over-complicating it and will put people off.

R.E royalties - In the UK the PRS collect money from worldwide broadcasters, BBC, Sky, YouTube, etc and distribute it to composers. They calculate how much to pay according to estimated audience size, quality of music (orchestral gets most), and how often it was played. Prime time on a big network with say >20 million viewers might get £100 per minute, a small regional broadcast late night to 50k viewers might get 1p per minute. I got lucky one time and received thousands from a show in South Africa that played one of my tunes in the background on a continuous loop all night every night for 2 years. Others times I'll be really excited because my music got broadcast on a major network, but it only played once so I only got £50.

I think ASCAP is the US equivalent.