Library deals - requesting help in understanding protocol

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PnoManLV
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Library deals - requesting help in understanding protocol

Post by PnoManLV » Thu Nov 04, 2021 11:14 am

Hi friends!

I have been a member for 15 months, and as yet have not achieved a forward. :)
I notice that more and more listings are requiring that only members with experience in the deal process submit their work. This restriction would block me from the majority of opportunities that fit my abilities.
Can someone (PLEASE?) offer a blueprint for a typical deal process? Actual figures are not necessary, but general advice would be GREATLY appreciated.
Feel free to visit my profile page at: www.taxi.com/members/pnomanlv

I would be so grateful to connect with seasoned members who are willing to share their experience!

Thanks for reaching out to a serious newbie!
Whitney Phoenix

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Telefunkin
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Re: Library deals - requesting help in understanding protocol

Post by Telefunkin » Fri Nov 05, 2021 3:14 am

Hi Whitney, I'll have a go at trying to help here but I expect there'll be other better and more complete answers. Please note that this is just a skeleton view and certainly not any form of legal advice.

I suspect libraries are trying to avoid messy interactions and things that could reflect badly on them in future, so its understandable that they're cautious. They're also busy and move very quickly (although at times it can seem like the opposite is true) so they don't really want to be kept waiting or having to explain everything. However, there's nothing wrong with asking about things that are not clear.

Its probably easiest to consider an EXCLUSIVE deal, and the basics as I see them are as follows:

- When you submit a track (via Taxi or otherwise), and its helps a lot if you are the sole originator. If not, then get work for hire agreements from all involved, and any co-writer details sorted upfront so you have the power and permission to control what happens with that track and so there's no potential for surprises later.

- If the library like the track and offer you a contract then you need to ensure that contract works for you, so seek advice from experiences sync music composers or a music attorney on its content.

- An exclusive deal is usually (but not always) in perpetuity (forever). You may or may not be entitled to some share in any sync fees, and typically you'll be entitled to half of any 'backend' royalties (100% of the writer's share) whilst the library/publisher takes the other half (100% of the publisher's share). There can lots of other detail in the contract and you should understand all of it before signing, along with any co-writers.

- If you're VERY lucky, you could be offered an upfront fee for composing more songs but that's hard to come by and unlikely from an initial Taxi forward. Take particular note of whether, how and when that upfront payment might be recouped.

- One thing you (and co-writers) will be asked for as part of the contract is your PRO number, so make sure your membership is set up and that you use your IPI number (not your membership number).

- Signing contracts is often done electronically, so its worth making sure you do that if its new to you, but its easy to set up.

- Libraries will let you know what their delivery expectations are, and they're all different, so be prepared to give them what they ask for.

- You probably sent them an mp3, but they might want a WAV of the full version plus alternative mixes (e.g. drums and bass, underscore, stripped mix, no lead), and also cut-down versions (e.g. 30s, 10s, sting). Those could be 48kHz 24-bit, or 44.1kHz 16-bit, or whatever they ask for.

- On top of the music they will often request some metadata about each version of the track, and there's a wide variety of what that might include (e.g. writer details, trackname, bpm, key, prime instruments, genre, mood, sound-a-likes, etc).

- Delivery of the tracks and metadata can be via submission portals with drag/drop for files plus drop-down and text boxes, or it could be via Dropbox (or similar) with everything zipped into a single folder (make sure its easily identifiable as yours and addressed directly to whoever requested it).

- Once that's all done, your track should eventually be released by the library (made available to their clients, often as part of an album or themed collection). At that point there's nothing else to be done, although you could offer the library more music.

- Some libraries will register the track with their own PRO and your PRO close to its release, whilst some will only register with their own PRO and might only do that if they know its been placed. Again, there's nothing to do other than wait.

- Once a track is placed, if there are any sync fees associated with the placement they will be paid to the library, and its the library's task to pass that on to you (beware there could be thresholds on amounts they will pay out). Also, the show producers should complete a cue sheet that contains your IPI number and that of the library, so that broadcast royalties can paid to you from you PRO. It can take quite some time for this to happen (at very least 3m, but could be over 2y for oversees broadcasts).

I've probably missed or skated over loads of things but its a start. There are some differences with non-exclusive contracts, and there's also royalty-free libraries, but if you can handle the exclusive situation you should find those manageable.

The overriding principle is to be very responsive when asked for anything and very patient in-between :). Good luck!
Graham (UK). Still composing a little faster than decomposing, and 100% HI.

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Casey H
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Re: Library deals - requesting help in understanding protocol

Post by Casey H » Fri Nov 05, 2021 4:26 am

Hi Whitney
Good info there from Graham. I'd happy to do a phone call or zoom and walk through as much as I can think of. I may even have some old power-point slides from something I did at a rally years back. Two main things (1) Understand the business and what typical contracts are and (2) Don't be a d*ck. You'd be surprised (or not!) how many people need to learn #2. Acting like a professional is a huge part of it and my guess is that wouldn't be a problem for you.

Feel free to drop me a PM.

Best,
:D Casey

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Re: Library deals - requesting help in understanding protocol

Post by PnoManLV » Sat Nov 06, 2021 10:24 pm

@Telefunkin and @Casey H

I cannot thank you enough for your willingness to take your time to assist an "uninitiated" member!

Graham - Your detailed explanation is SO appreciated! You have stepped WAY beyond the call of duty!
Casey - SO thankful that you are open to some one-on-one mentoring in the future! I will never abuse this unexpected privilege, but I might prevail upon you once in a while!

I am encouraged to know that there are Taxi veterans who care about others. I will be sure to pay the favor forward when I have the experience and the opportunity.
Hats off to you gentlemen!!!

Also thanks to Taxi for providing a pathway into the world of Sync! I appreciate the education they provide, and the avenue to enter this vast marketplace.

Whitney

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Re: Library deals - requesting help in understanding protocol

Post by Telefunkin » Sun Nov 07, 2021 2:10 am

You're very welcome Whitney. I'm simply paying back all the help I got a few years ago, and that's the way it often works here. We never stop learning though because there's always more to know, so if you'd like another take on things please make sure you watch the 2021 Taxi Rally Day 2 presentation:
"Music Publishing for Musicians with Bobby Borg and Michael Eames".
They spell things out better than I ever could, and I hope it all comes in useful for you before long.
Graham (UK). Still composing a little faster than decomposing, and 100% HI.

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