Making significant $ with film/TV music

[Casey H]

Check out Casey's presentation: http://www.caseysongs.com/publicfiles/M ... ss_101.ppt

Wow, DI... I didn't realize that was still publicly on-line though it's probably not an issue.

That was the PowerPoint from a class I taught at least year's Taxi Road Rally. It's intended to be accompanied by explanation and discussion, but I'm sure a lot of it is self-explanatory. I hope I get the opportunity to teach it again at the 2012 Rally. Can't say yet.

As long as you brought this up, let me use this opportunity to put in a big plug for the Taxi Road Rally. It's an awesome experience and my class was one of many taught by forum members including Matt, Mazz, Chuck, Dave Walton, Anne House, Coach Debra, etc (Apologies if I left someone out!)... It's very cool that in addition to industry gurus, members get to hear from other MEMBERS who are in similar situations to them all the time.

Come to the Road Rally! You won't be dissapointed. (And no one even has to know you are DesireInspires when you attend! )

Casey

[k o star]

That's the secret, there is none. Good music in good libraries. LOT's of good music in good libraries. It's a long slow burn.

That makes sense.

Now for the hard part: Getting good music into good libraries.

Hint: A good library for me may not be a good one for you. I've got friends who have had lot's of placements out of libraries that I've had none and vice versa. You've got to figure out what you want to write, what kinds of shows that music is used in and then what libraries cater to those kinds of shows. Then you have to compare your music to what is actually used and get yours to whatever level that is. I'm not saying its not, but I am saying mine wasn't four years ago and I had to start there first.

This forum is the best place to get feedback on getting your music up to the level. Taxi is one of the best places for getting that music into good libraries. Between the two, it's a good place to be involved in.

Then once you're in a few places, bombard them with music. But don't put all your eggs into one basket until you see that that library can get your music placed. And therein lies the true rub. All of that takes literally years. You only control the quality and quantity of music and the knocking on doors. Once the music lives somewhere the rest is totally out of your hands. And it's a maddeningly slow process.

So concentrate on what you have control over and keep at it. It's a long slow road and it helps to make friends along the way. In fact, the making friends part helps more than almost all of the above. But it all starts with good music.

Absolutely agree with what Bryan mentioned here.. Especially abt how some Libraries may work for some & not others..
Lots of trial & error is what takes up all that time.. more than the writing process itself I feel..
I'm on my 3rd year now.. 333 signed tracks.. Only 667 more to go.. Easy! Hahah not..

-Kel

[Cat Herder]

It is all very simple. You need the chops, and that goes without saying. You need the network, and that is where all the research and hard work comes. That said, TAXI can help there. Then you need to write like a person possesed. Chops, Network, Numbers, Plan your work, and work you plan. Laser focus and don't be detered or discouraged. Always move forward, and you will rise as far as ability will take you.

[StanSwin]

I have been doing this for a little while now myself, but not yet as prolific as I should be. My goal is to at least double my "hit rate" in the next 12 months. I think the key to this game is to be a solo writer and producer, or else collaborate with someone who can fill in the holes, whether that be instrumental or production skills. You'll get more out faster that way too. But of course, you split the return. Also, things that get placed in a series seem to propagate to future episodes and seasons. So there are a number of ways that your income grows. The good news is that you can actually work full time and develop your skills and catalog at the same time. You don't have to give up the day gig to work into the production gig. However, learning to do it all on your own is critical. Paying studios and musicians isn't really feasible at this level.

[Casey H]

I think the key to this game is to be a solo writer and producer, or else collaborate with someone who can fill in the holes, whether that be instrumental or production skills.

Absolutely... For me, collaboration with someone who has the production & performance chops (that I lack) has been key to recent forwards, library deals, and interest from higher end folks out there.

Casey

[tcro58]

The reality of successfully marketing music seems not unlike how successful internet types steadily build hundreds of niche websites of varying complexity.Some sites can became fast cash cows,many can be long term slow earners,and of course the complete dead end ones.
This is a good thread.

Tony C

[daveydad]

Thanks for this thread! I just had my first song signed by a music library and had no idea what to expect. I have about 150 songs non-exclusively in a dozen royalty-free sites generating about $100-$300/mo. But that way is like your music is a needle in a haystack. So looking forward to seeing how my music does in an actual library that tries to place your music. I've only been doing this for about a year and realize it could take 5 years to see the fruit. So I keep composing and keep submitting!

[DesireInspires]

Thanks for this thread! I just had my first song signed by a music library and had no idea what to expect. I have about 150 songs non-exclusively in a dozen royalty-free sites generating about $100-$300/mo. But that way is like your music is a needle in a haystack. So looking forward to seeing how my music does in an actual library that tries to place your music. I've only been doing this for about a year and realize it could take 5 years to see the fruit. So I keep composing and keep submitting!

That is nothing to take lightly. Good job. Money is money!

[Gator]

I've suddenly got an awful feeling of either being in the wrong place or wasting my time. First, at my age i dont have 5 years (some folks earlier in the thread were talking about a 5 year plan). Second, as someone who used to be in a band years ago when i was young, i still have desire to be the famous guy on stage. Not the guy in the background writing songs for the famous guy.
i record at home and am learning to mix as i cant afford studios. I'll continue to be a TAXI member as perhaps some day i'll see a posting which will suit my situation. Although i write, i can also sing n play.
i'm a different kinda critter than the "song writer". Not sure if there's anyone out there can relate to where i'm at.

[AhjayStelino]

Here is a production music rate card from my PRO (APRA). I found it useful to understand how much the end users have to pay to obtain production library music.
The rates are in NZD. Multiply the rates by 1.2 to get approx USD rates.

http://www.apra.co.nz/MusicConsumers/Pr ... Music.aspx

Ahjay Stelino
http://www.taxi.com/ahjaystelino
http://www.ahjaystelino.com