Music Libraries - placements without fee...

[sonotoni]

Hi there,
what do you think about signing with libraries who secure only revenue via the PRO and no fee in case of a placement?

Best wishes
Toni

[DesireInspires]

I see nothing wrong with a library like this.

The truth is that many libraries will not help a composer to make upfront fees. They do blanket licensing for the majority of their clients.

It makes sense to work with a variety of libraries.

[andygabrys]

http://www.youtube.com/watch?v=6FguwMMsDZA

think that this series pretty much says it all.

[sonotoni]

thanks, guys.
Still kind of confused about the fact that the production goes away for free in order to earn some money for composing the music.

[andygabrys]

hi - kinda confused about that last question.

you mean the publishing being taken by the library? that's standard 50/50 kinda deal these days. you as composer keep the writers share, they keep publishing. Sometimes non-exclusively, sometimes exclusively. Some people write and only place one per in one library, so in that case they are treatment all their music as "exclusively placed" anyways.

some libraries share parts of the blanket fee, but it probably depends on the specific library and your specific agreement.

[sonotoni]

I thought the fee is a payment for the recordings. so if that would be the case,
a placement without the fee, would actually mean being payed for the composition
but not for the recordings.
I'm kind of new to this specific kind of business, so I might sound unprofessional...sorry, if so

[mazz]

When a library pays for a piece of music, they are buying the copyright and at that point they own it. Since the piece most likely exists as a recording only, then they are also buying that version of the piece. In the US it's called "work for hire". This would also be an exclusive contract, which would mean that, within the limitations of the contract, you no longer can exploit the piece on your own. With a library like this you are typically also signing away any participation in any up front sync/license fees, since you've sold the piece to the publisher. There is also typically no reversion clause, you sign everything away forever with the exception of the writers' portion of the performance royalties.

These days libraries that don't pay up front fees are also going to exclusive contracts but in that case they may be sharing in the sync fees and also may allow you to market the piece on iTunes, etc. They are wanting exclusivity for the markets they serve. There may or may not be reversion clauses. With some libraries from the US that are looking to secure overseas licensing, they will typically want no reversion clause. A reversion clause limits their geographical reach because other countries don't recognize things such as re-titling and non-exclusive publishing deals.

The benefit of a non-exclusive contract is that you can retain your copyright and publishing, because they will typically retitle, and potentially exploit the pieces in other markets not served by the publisher. The temptation to place the same piece in multiple libraries that serve the same markets has caused there to be some turmoil in that business model and it remains to be seen how it will shake out.

It's highly recommended to watch all of Matt Hirt's videos on YouTube. He is a guru of this business and really knows what he is talking about.

Good luck!

Mazz

[andygabrys]

I thought the fee is a payment for the recordings. so if that would be the case,
a placement without the fee, would actually mean being payed for the composition
but not for the recordings.
I'm kind of new to this specific kind of business, so I might sound unprofessional...sorry, if so

are you meaning a work-for-hire where the library pays you $$$ to produce the recordings and then assumes the copyright and the publishers share while you collect the writers share of any placements?

EDIT - looks like Mazz beat me to it!!

[mazz]

I should also say that the very best option is to license your music directly to music supervisors. That typically will take moving to where the supervisors are (or at least going there several times a year) and then spending years getting to know them. Most of the publishers have already done that and that means those of us without the time and resources and the geographical advantage can still get to the supervisors. Of course, the publishers are going to want their cut of the backend but that's totally fair since they've taken the risk and spent the time and money to cultivate those relationships.

[sonotoni]

Seems like there is a lot to learn...
I started signing instrumentals to several US libraries lately. As I live in Europe it appeared to be a good way to start out like this.
And as I said before I'm kind of new to the Film/TV placement business. I worked mainly for record companies, producers and artists in
Europe.

Thanks!