$50 per Instrumental Cue for an EXCLUSIVE deal?

[DesireInspires]

But because the listing says $50 upfront and no split of sync unless over $1000 (which probably doesn't exist anyway).....

That is what scares me!

There is really no need to sign away the copyright for placements on reality TV, even for $50 upfront.

Either a non-exclusive deal or an exclusive deal with a reversion clause would be more than suitable. And are we sure that the listing company is only going to place the songs in reality TV shows? I never saw that explicitly stated anywhere.

But I do not want to cause any negative vibes. It isn't a deal for me. Others should weigh their options and proceed accordingly. My opinion alone should not encourage or discourage anyone from taking action. I am simply 'thinking out loud'. Now, time for me to hush my little mouth......

Thanks all!

[annayarbrough]

Interesting thread here, folks. I wonder if this would be a good subject for TAXI TV—common deals, what to expect if you're a newcomer rather than established, whether that even matters.....! How the industry is moving in terms of deals, etc. Or maybe just a thread somewhere on these forums would do the trick.

I'm personally curious on how to best establish myself... finding the best libraries for my work, knowing where to invest the majority of my time, knowing what libraries/library models are worth pursuing in terms of what I do. How to continue 'moving up the ranks', as it were, rather than staying static.

Maybe there aren't any concrete answers to those things, but it's sure interesting to read!

[cosmicdolphin]

I'm personally curious on how to best establish myself... finding the best libraries for my work, knowing where to invest the majority of my time, knowing what libraries/library models are worth pursuing in terms of what I do. How to continue 'moving up the ranks', as it were, rather than staying static.

Maybe there aren't any concrete answers to those things, but it's sure interesting to read!

I think it varies from writer to writer, so what works for me won't necessarily be the same for you and vice versa.

The old saying " There's no replacement for quality " still stands. Keep writing good music, keep submitting it and try to plant your seeds in different gardens.

The wheels turn so slowly that I think it's going to take a few more years to know what was the best Library for us.

Mark

[DesireInspires]

The wheels turn so slowly that I think it's going to take a few more years to know what was the best Library for us.

Mark

A few more years? No! The wheel has to spin faster than that. What do we need to do to accelerate the process?!?

[VanderBoegh]

Considering that I've signed thousands (literally) of tracks with NO upfront money - the lion's share of these to exclusive companies - I gotta say that $50 per track seems like a pretty damn sweet deal!

No share of the synch unless it's over $1,000? No biggie there, either. In all my time doing this, I've only ever received one sync fee payment. So I don't think people would be losing out on much. Granted, that synch fee was $250, so I guess in this case I wouldn't have received it due to it being smaller than the threshold..... but that's ONE instance over the course of 6.5 years.

My income from backend royalties is quite substantial by now. I'm not talking coffee money or nice steak dinner, I'm talking about condo ownership (hopefully soon I can call it "big-ass house ownership"). And that's all from backend royalties generated from no-upfront-fee libraries.

Of course, as has been said, everyone has a different level of acceptability and tolerance for different deal offerings. There's no one-size-fits-all answer here, but that $50 per track would be very welcome from my perspective!

~~Matt

[DesireInspires]

Considering that I've signed thousands (literally) of tracks with NO upfront money - the lion's share of these to exclusive companies - I gotta say that $50 per track seems like a pretty damn sweet deal!

No share of the synch unless it's over $1,000? No biggie there, either. In all my time doing this, I've only ever received one sync fee payment. So I don't think people would be losing out on much. Granted, that synch fee was $250, so I guess in this case I wouldn't have received it due to it being smaller than the threshold..... but that's ONE instance over the course of 6.5 years.

My income from backend royalties is quite substantial by now. I'm not talking coffee money or nice steak dinner, I'm talking about condo ownership (hopefully soon I can call it "big-ass house ownership"). And that's all from backend royalties generated from no-upfront-fee libraries.

Of course, as has been said, everyone has a different level of acceptability and tolerance for different deal offerings. There's no one-size-fits-all answer here, but that $50 per track would be very welcome from my perspective!

~~Matt

Cool. I have worked with the previous iteration of this library in the past. It was non-exclusive back then with no upfront payments.

[SubRivers]

Totally agree - upfront $50 is a very encouraging sign that the library is serious about working things.

A sync fee is mostly a theoretical possibility these days for cues and the $1000 limit means they aren't looking to take advantage of some killer track that randomly falls into their lap.

Seems a good deal to me.