Keeping in contact with music libraries

[Tree]

Hi everyone! I met some of you at the rally and I'm just now getting on the forums. (though my husband jeffrey has been around here some).

Anyhow, we have our music signed with several different libraries and I'm not always sure of the best way to follow up after the initial signing. What is typical proper etiquette for keeping in touch and sending more music? I know some libraries have systems in place, but for the ones who don't, how many songs should I send throughout the year? How often should I contact them? I don't want to spam them with everything we've got, but I also want to get as much into their libraries as possible. Most of the libraries we work with are non-exclusive re-titles. Anyone willing to share what's worked for them in the past, and I know every library is different but I'd love to hear examples. Thanks a bunch!

Theresa

[orest]

I think a serious library will contact you, maybe even by mass mail (updates, progress and so on about the library).
I'm working with several libraries, but only 2 of them keep in touch by a regular basis.

I have contacted the other libraries just to see if something new has happened, but I don't do that anymore. I only contact them if I have something new to offer them and if I think the music fits their style.

[davewalton]

A frame of mind I think we have to be in is that "they're always looking for good music". And... if we're already *in* their library then our music is what they're looking for. Of course each library is different... some only want submissions on CD via snail mail, others want nothing but links to mp3's, etc. Usually I'll ask about that when I send the contract in. We've concluded our "business" with regards to the current music tracks... time to open the door for future submissions while I've got their attention in a good and positive way (we've just signed a contract!). I keep it simple...

"The contract is signed and on its way... (blah blah blah). For future submissions, what is your preference in terms of receiving and evaluating new music? Also, so that I'm better able to target my submissions to your needs, is there anything specific or special that you need right now or for an upcoming project?"

I don't think I've ever had anyone not reply to that. They're *much* more receptive since they know I've already met their bar for quality. After that initial hurdle (just getting in there), the fun begins... you send them great music... they love receiving it. Remember... *they're* calling people and pitching music ALL DAY LONG... that's their job. Getting a short, simple request from you anytime, to send more music of what they already like... they'll take that offer any day of the week!

hth,

Dave

[Casey H]

No "hard" rule but if you have new material I don't think it's a problem to drop an email every 6 months and ask if they are looking for more. Sometimes when I have a new song produced, I will ask libraries I'm currently in if I can submit it. As long as you don't bother them with emails all the time, it's usually fine.

With most libraries I've signed with, the relationship with the key person is more personal once I was an accepted composer. They are almost always willing to listen to something new-- you get preference over unsolicited submissions-- and sometimes they will even give feedback, not that you should expect that.

This is one big advantage of the whole taxi submit/forward/deal process. It's not always about that first deal with a library, it's about the long term relationship. "Favorable introductions" as my friend Chuck calls them.

Casey

[Tree]

Thanks everyone! That really helps. It's always good to get another opinion. The 6 months sounds like a good timeframe. And Dave the example letter is great! I never want to be too pushy or pass up opportunities. I always like when the library sends out mass emails, but for those other libraries... Thanks for the advice!