Open Letter to Michael - Thank You!

[RonKujawa]

Since 2017 has ended, I wanted to update you all on my actual numbers.

So, I didn't quite hit $5k for the year, but came very close.

YEAR REG WORKS CUE SHEETS TOTAL $ Earned (backend royalties 80%, RF sales 10%, sync fees 10%)
2014 24 2 $0
2015 92 20 $66
2016 225 23 $1306
2017 429 75 $4780

In 2016, I decided to also track number of music files delivered. I defined this as each individual file delivered to a library. So, if I did a cue and provided a main mix and (4) alternate mixes or stems, that would be a total of (5). Also, if those were non-exclusive cues that I turned around and provided to a different library (which I don't do often), then that would be (5) more cues. This made more sense than counting original compositions, since I figure every alternate mix in each library is its own opportunity for a placement. Plus it simplified my tracking.

In the middle of 2016 I made a conscious effort to always supply alternate mixes. Before that, almost every track I wrote and recorded was a single full mix. I don't have numbers for 2015 or earlier, but I know it was well under (100) files each year. By the end of 2016, I delivered (167) files. At the end of 2017, I delivered (707). I'd guess I average (5) mixes per cue, so that's about (141) original compositions for the year.

Tracking cue sheets and royalty statements, there is about a 9-month lag from cue sheet to payment. There is also a significant lag from delivery to certain libraries to those works being registered at ASCAP and then a further lag to placements, if they even happen.

Most of my cues placed in 2017, even late in the year, were written and delivered in 2016. Most of my placements are tension tracks, although I have produced tracks in several genres. There is probably not enough data to draw conclusions from, but it's interesting anyway. In another year or two, those trends may be more obvious.

Another interesting note, I signed to two new-to-me libraries in 2017. The fist I supplied (5) or (6) albums worth of tracks, a total of a few hundred files and have yet to see a placement. The second library I have signed about two dozen files and have not seen a placement yet. The first library has reputable ownership, but not an established track record. I signed tracks non-exclusively with them. The second library is more established with a proven track record. I signed those tracks exclusively.