The re-title game is over

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Cat Herder
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Re: The re-title game is over

Post by Cat Herder » Tue Oct 22, 2013 6:32 pm

Casey, there is a list, but it is flagrant abusers such as those who have not properly cleared their music, and those who have placed cues outside compliance of their agreements, and those who show up in production companies with many titles of the same cue on many occasions. I know a bit about this. I am a bit more exposed.
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Re: The re-title game is over

Post by admin » Tue Oct 22, 2013 9:18 pm

I'm going to lock this thread because I don't think there is a one size fits all answer. I know members who are making REALLY enviable incomes placing the majority of their music in many non-exclusive libraries. I know others who will only work with exclusive libraries. And maybe the smartest people place music in some of each.

The one thing I personally believe to be true is that it's probably not a great idea to put the same song or track in several libraries. Why not create similar "feeling" tracks or songs at the same time you create the first? Put one in each library, but not in all libraries.

I'm on day 43 STRAIGHT of 12 hour + days working on the Road Rally, and admittedly, a little cranky right now. But Cat Herder, PLEASE try to be less bombastic, and stop scaring the crap out of people. Yes, there may be people in the biz who are "blacklisted" for doing REALLY stupid stuff ( like using uncleared samples time and time again) but that would be true of dangerously stupid people in any industry. To the best of my knowledge, there is no list of composers who are in non-exclusive libraries in the desk drawers of all the library owners.

There might be a list of libraries that don't have Errors and Omission insurance though! There are networks, film studios, and ad agencies that require the libraries they work with to give proof of insurance. The bottom line is everybody is entitled to give his or her opinion on this forum, but with only two weeks before the Rally, and 100 different speakers to get titles, bios, class descriptions, time changes, etc., etc., etc., etc., from, the last thing I need right now is to be getting emails and calls from people who are scared to sign deals with non-exclusive libraries because they read this thread.

And to be fair Cat Herder, you are one person, and I don't see other "herders" chiming in on this or any other thread. While I personally know some who come here from time to time, they avoid giving public opinions. They tend to call me when they see stupid comments or people being "uncool,", but they personally stay above the fray.

I think that audio fingerprinting will probably obsolete the re-titling practice in time, but I still know plenty of supes, nets, shows, and films that WILL use non-exclusive music if it's the right thing for the scene, and others who shy away from it. It goes both ways, the business is changing faster than ever, and people should do everything they can to educate themselves. Going to the Road Rally and hearing me ask the question on the panels is a really good way to get it from the source. Although, I know supes who've said they don't use non-exclusive music in public, but have actually used it.

There are NO absolutes at the current time, and everybody is free to make their own educated decisions.

I'm going to lock this thread until the Rally is over, and respectfully ask that this discussion takes a break until after we ask some panelists. And I repeat, there is no blacklist of composers who have material in non-exclusive libraries, as far as I know. There are also TONS of tracks that come from non-exclusive libraries all over MTV, most cable net reality shows, and plenty of broadcast net shows as well. NO absolutes!

Respectfully,
Michael

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