Music Library Thoughts

[mikeymike2000]

Mike,

I am a big believer in focusing on the things we have control of and letting everything else go.

As composers the biggest thing we have control of is doing the work. I don't think focusing on money is the answer, primarily because we have little control of when and where our music is used.

We can certainly have some influence on the outcome by writing and producing the best music we can for the required specs. But, we are not the music supervisor or music editor making the decision to use my "masterpiece". Also, even if my cue is used, it takes months to get paid.

The higher end libraries do offer the financial advantage of upfront payment, but again we have little control in executing a deal. (some of these libraries have more than 50,000 tracks and offering something they may not yet have is a challenge in and of itself)


So, what do we do? We do the work, improve our production, expand our repertoire of styles we can produce, get tracks in multiple libraries, and spend the time that is necessary to reach "critical mass". I think the "critical mass" number is north of 500 tracks that are in the market place and are being used in productions.

Rome wasn't built in a day, nor can a catalog of 500+ quality tracks be built in a matter of weeks or months.

The money will follow the value of our work. To have the financial position of a John Williams one has to provide equal or greater value.


Chuck

Chuck I agree with what you are saying here 100% but in this case, my case and it sounds like Kman's case, if I (can't speak for Kman) focus ONLY on production and making my mixes better and better (something we all can do until we die and still not finish the same song) then I am not taking full control over the things I have control over.

One of the other things I personally have control over is the list of over 85 DIY libraries that has been collecting dust on my desk.
(Law of Averages alone says I will get into at least 10) I also have the know how to market myself directly to non-commercial productions that can use me. I was off to a great start but then focused on getting the high-quality samples and then learning how to use them properly. By doing this I started to think Taxi as the only thing I had to do to get where I want to go. - Keep in mind I am saying this as a 'one man show' I am not a band, don't play live, don't tour, nothing on iTunes, no fan base... straight up composer only. If I was or did these other things then most of this would be irrelevant, I think.

For me I am going to shift gears for a brief moment (2 weeks or less depending) and do only business things and then come back to the composing and work on my 500+. Now that I have a full understanding that Taxi is something to be used "in addition to" and not "instead of" for a person like myself. That is how I started but then for some reason my outlook shifted a bit. Now I am focused again on the big picture and not just one section (albeit one of the most important ones). Still there is a bigger picture.

The three best lines in this thread for me have been "You gotta start somewhere" , "nobody's waiting for you to show up" and "It's about balance". Once I get the business side even with the composition side again then I can bop between each side easier and faster and raise both bars at the same time. Right now I am lop-sided.

[thekman]

I only know of the one and it's been incredibly valuable to me, quite a few deals out of research that started there.

I know if which you speak. You're the third person with a positive opinion of them so I'm going to check it out for sure!

Thanks!

[mikeymike2000]

Just wanted to put two more thoughts out there:

1) my use of the term "low end libraries" was not exactly a fair term and should be called "DIY"

2) when making the effort to do this 'self diversification marketing' save yourself time from the start and make sure that said library licenses your tracks for an amount you view as acceptable. Going through the effort only to find an insulting price after the fact is no fun and if you are not careful you may be stuck with the terms for a year. - A site may look cool, be partners with a social media giant, have cutting edge technology, it may have high quality music and it may have impressive clients but if they are giving your music away for less than a tank of gas... or even less than a cup of coffee... UG - I remember now this is why I put this project on hold initially. But progress is moving forward...

[DesireInspires]

Great discussion.

[kurtkreimier]

Many good thoughts here. For me the DIY libraries have a place. I don't write loads of new music like some other folks here. I can manage about 25 new tracks in a year given the hours and creative energy I have available after working my regular job. I have certainly done better financially with the high end exclusive libraries. However, I find the DIY libraries useful for placing tracks that have either been placed already with another non-exclusive publisher or for back catalog that has never been placed with anybody else. However, you still have to read the fine print in the agreements because some of them do have restrictions on where else the music can be marketed.

I think the quality issue as it relates to the DIY libraries is not the issue some might make it out to be. I think the quality of music on many of these outlets is just as good as you would hear anywhere else. I know when I listen to what else is available on these sites I find it to be as good as anything I would hear anywhere else. In fact, I know some excellent composers/producers who frequent this forum who use some of the DIY libraries with very good results. For me they represent a way to monetize some of my music that otherwise would not be doing much for me and I have had a few licenses and royalties that have come my way as a result. Keep in mind earlier points in this thread about the markets they serve and understand you may not experience a prime time network placement working with a DIY library, but then again, you might. Most of what I have experienced to this point have been smaller web placements. But they are placements and licenses I would not have otherwise had.

I also don't really buy the argument that you have to know somebody at Taxi to get into a high end exclusive library. Certainly knowing people helps and will be a huge benefit over the long haul as you look to build new relationships and opportunities down the road, but I don't think it is critical to getting into a good exclusive library. However, I do believe a Taxi membership and attending the Road Rally, along with other targeted music conferences and industry events are critical. These are the things that will allow you to meet the people who have a need for your music and provide you with the chance to establish relationships and learn more about what they are looking for.