What does it all mean?

[mazz]

PROs pay for broadcast placements, anything that is non-broadcast does not. I think there are cases where live performance does, probably Broadway shows, etc., but I'm not familiar with that side of the business.

In my understanding, the way libraries pay are these:

1. A share of any upfront sync fees, if those fees are a part of your contract with the library, sometimes there is no share (see below).
2. A commissioning fee for composing specific music for the library. In this case since there is an upfront fee, there may be no share of sync fees or the percentage may be smaller than 50%.
3. A share of any buyout fees, if stipulated in the contract

In all cases, if there are broadcast royalties, they are paid by the PROs, not the libraries, so the back end would be the same for the same placement, regardless of the library of origin. The library participates in the back end usually as a publisher, which means they usually get 50% of the entire royalty payment (also known as the publisher's share, the composer getting usually the other 50%, which is known as the writer's share). The difference with the libraries, aside from exclusive vs. non-exclusive in this case is probably the level of clientele they are serving. If a library gets more placements on prime time network shows, then the back end would be higher because that's how the PROs calculate it, but the library isn't the one paying the royalties, again, they are collecting the publisher's share from the PRO just the same as you are collecting the writer's share.

There's the whole subject of direct licensing, but I don't fully understand it and it's not as common, I believe, so I left it out.

Does this help?

Thanks,

Mazz

[bassman]

Yes great thanks for that Mazz.

I've basically been trying to work out the difference between how the library business in UK and US and from what you're
saying there are a lot of similarities and some aspects that are unique to the US market.

Ultimately I guess I am working out for myself the best places to put my tracks. I've been spoiled in that when I started writing library music I managed by complete coincidence to get my tracks placed with the biggest library of them all + a few smaller ones and the payout has been outstanding.
I've got a decent number of tracks with some good libraries that Taxi introduced me to and I am curious to see what sort of income they can generate.
It's weird, I never expect anything and still get very surprised when I discover the plan is working.

My latest theori: Always be a beginner

[T&V Marino]

Hi Jed,

Not to discourage you, but here's some perspective: we got a TAXI deal from a TAXI forward five years ago, and we JUST got a check in the mail last week for...drum roll, please... $12.50!!! Seriously! It can take a LONG time. But we've written about 600 songs since then and gotten into some very cool libraries, so now we're doing fine and finally able to pay for some of that recording equipment we bought!

Here's another scenario: a friend of ours recently joined TAXI, got a song forwarded, she was offered a TAXI deal a month later, and within a few weeks of signing the contract, the song got placed in a major network show last month. !#*$ Just kidding. We were really happy for her.

Everyone is different. Every song is unique. Each TAXI deal is different. It just depends how persistent you plan on being.

Good luck!

~ Tracey & Vance Marino

[Jed]

I have to say you all are very infomative and helpfull on th is site! Even the hijacked thread is helpfull! LOL Really. I am a dreamer but I am grounded and I think that is how you need to be. Really I have a total of about 12 songs ready to record so I am just a baby in this process. But I go at it as if every piece I write is a master and better than the one before! Are they? Probably not. LOL What I will do is just expect to write the best that I can, put it out there and see what happens. Even if it sits in a library for 10 years, that is more than millions of people have done with their music so I am on the winning side of the business. All I know is I sing, whistle, humm and snap every day while at work or at home and that I know I have it in my blood to write some amazing things. My theory in writing is "If I say cry, cry, If I say laugh, laugh and if I tell you that it is a hit, it will hit you!" LOL just something to keep me going.

thanks again to all of you and ofcourse feel free to keep posting good information on this!

Jed

[T&V Marino]

You've got the right attitude, Jed. Keep getting better and keep hanging in there.

When we started several years ago, we had a LOT to learn. But people like Matto and Michael Laskow really helped us over the years. We couldn't have done it without these guys! You're so lucky to be involved with a great community such as this. It can be a real "downer" business, but the serious, long-time TAXI composers we've met over the years are a special group of people who will lift your spirits and keep you going.

To answer your original question..."What does it all mean?" THAT'S what it all means.

~ Tracey & Vance