Demand > Supply

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jefflaplante
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Demand > Supply

Post by jefflaplante » Mon Apr 25, 2022 1:41 pm

Here is a problem I never thought I would have.
I've done 63 cues since the start of the year and I'm on track to accomplish my goal of 180.
The problem is that all 63 have been signed or in the process of being signed.
Now I have libraries contacting me for music and my catalogue has been wiped out. I do work fast, but the demand is definitely greater than the supply at the moment.
Do you ever just stop submitting to listings for a while. in order to replenish your supply of music?


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melodea
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Re: Demand > Supply

Post by melodea » Mon Apr 25, 2022 1:54 pm

Jeff, be glad you’re on level 2! Same here, since the beginning of the year I’m so grateful to write directly for libraries with some exceptions here and there. Isn’t that the goal anyway? In my case I have no choice at the moment since I have a daytime job (luckily music related) and can crank out max 1 to 2 tracks per week. So, the more contracts and requests from libraries the less writing for listings unless I find some unsigned material in my playlist thet fits the brief.
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Re: Demand > Supply

Post by cosmicdolphin » Mon Apr 25, 2022 2:39 pm

That's great productivity, don't burn yourself out though. I think realistically you can only juggle 3 good libraries at any one time and keep them all happy. Working out which are a good fit for you and which are not is going to be your main challenge.

I don't think I'd be willing to commit more than 20 or so cues to a new publisher without knowing they'll start landing placements. The worst result I've had is 20 cues with zero placements in 5 years.

The best resulted in placements showing up in Tunesat within a month of the first few cues being published. Hell of a difference. Needless to say I've pumped lots more music into this library and quietly abandonded the other ( and a few others along the way ).

Try giving them a simliar number of cues and see how perform against each other. You'll know by the end of the year which ones are worth focussing on. I'd probably park the Taxi submissions until you've delivered a decent number of cues to each library to work with.

At the end of the year ditch the worst one and try for more Taxi deals

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Re: Demand > Supply

Post by jefflaplante » Mon Apr 25, 2022 4:49 pm

Hey Mark, that's what I thought as well, but then I heard MVB say that he had his stuff in 30 different libraries, and I felt like I had to diversify. I just don't see how that is possible.

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Re: Demand > Supply

Post by cosmicdolphin » Mon Apr 25, 2022 11:57 pm

jefflaplante wrote:
Mon Apr 25, 2022 4:49 pm
Hey Mark, that's what I thought as well, but then I heard MVB say that he had his stuff in 30 different libraries, and I felt like I had to diversify. I just don't see how that is possible.
I'm in about a dozen but only 2 or 3 of them are worth my time.

You usually have to burn through a few to find the good ones.

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Re: Demand > Supply

Post by Telefunkin » Tue Apr 26, 2022 12:42 am

Another way of tackling it might be to consider what aspect of making tracks takes you the most time, then work with someone else who can help or do that part for or with you. OK, you split the credits and potential profits, but if you can turn out twice as much music without burning out then its effectively the same result. Its worth seeking out some potential collaborators and trying a few tracks with them to see how it works out for you both. You might end up with several people who you work with periodically, depending on the styles. Of course, they could equally well ask you to help with their tracks for their libraries, so it all comes back around in the end.
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Casey H
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Re: Demand > Supply

Post by Casey H » Tue Apr 26, 2022 4:25 am

Sometimes it's hard to judge if a library is a good match for you and your tunes based on even 3-5 years. It's such a long game. Many of us have had our first placement with a given library 4-5 years (or much more) after signing music with them. As important as how they work for you is their general track record, especially in your style, how other folks you know have done with them, etc.

A library can be doing well for you now because of a good relationship with TV show "X". But that show ends or their relationship does and then the placements dry up. Another library gets you nothing for years on end then suddenly builds a relationship with TV show "Y" and the hits start coming.

The vocal song that's made me the most money of any was in that library for 3-4 years and nothing. I was ready to pull it (reversion) thinking maybe it wasn't the style for them. Then it was placed on 13 episodes of that daytime soap we all know.

One long time, fairly well known Taxi member, had a cue in a library since 2014 and totally forgot about it. Recently it landed a 9 minute long placement. :shock:

I like Graham's suggestion to collab to make spreading the cues around more efficient.

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