Exclusive deal but no money up front

[AmandaJane]

I agree with kolstad etc above, I wouldn't sign an exclusive deal 'in perpetuity', only if it was for 2/3/5 years, with the possibility of reversion at those points if either party wished.
Of course, I'd leave it there if it was getting placements. But if it got nothing, then I'd want the choice to consider placing it elsewhere.

[guscave]

I understand how some folks wouldn’t go for these types of deal, and of course if the library doesn’t have much of a success record then I wouldn’t go for it myself. However I’m not married to any of my songs so I write, submit, repeat and move on.

My catalog is now well over 700 tracks. Keeping track on when songs reach their reversion period would be too time consuming for me. Which in turn would take away from my time to write and do other administrative work. I do however keep track if a library is just not performing so that I don't keep submitting tracks to them.

[VanderBoegh]

My catalog is now well over 700 tracks. Keeping track on when songs reach their reversion period would be too time consuming for me. Which in turn would take away from my time to write and do other administrative work. I do however keep track if a library is just not performing so that I don't keep submitting tracks to them.

This is totally my strategy too. Tracking reversion dates - once you amass a sizable number of signed tracks - would be a royal pain in the neck. So I never sweat this stuff. I just write more material and sign it to a bunch of places, then keep copious notes and a good spreadsheet tracking which libraries are performing the best after a few years. Those that are making me good money, I continue to feed tracks. Those that have zero placements (or a very paltry amount) get relegated to the back of the line... or cut off completely.

I find - and this is personal opinion - that it's easier to write new material and send it out, then it is to track reversion dates and try to get your tracks back.

Also, I've signed plenty of no-money-upfront, no-reversion, exclusive deals. Some have worked out great. Some have flopped. Do I regret the flops? Kind of..... but I never underestimate my ability to make more material!

~~Matt

[ChazAldi]

My catalog is now well over 700 tracks. Keeping track on when songs reach their reversion period would be too time consuming for me. Which in turn would take away from my time to write and do other administrative work. I do however keep track if a library is just not performing so that I don't keep submitting tracks to them.

This is totally my strategy too. Tracking reversion dates - once you amass a sizable number of signed tracks - would be a royal pain in the neck. So I never sweat this stuff. I just write more material and sign it to a bunch of places, then keep copious notes and a good spreadsheet tracking which libraries are performing the best after a few years. Those that are making me good money, I continue to feed tracks. Those that have zero placements (or a very paltry amount) get relegated to the back of the line... or cut off completely.

I find - and this is personal opinion - that it's easier to write new material and send it out, then it is to track reversion dates and try to get your tracks back.

Also, I've signed plenty of no-money-upfront, no-reversion, exclusive deals. Some have worked out great. Some have flopped. Do I regret the flops? Kind of..... but I never underestimate my ability to make more material!

~~Matt

This is a problem I hope to have someday! Hopefully sooner than later!

[jdstamper]

My preference is non-exclusive, I just feel better knowing I have control of my tracks.

But I don't mind signing exclusive with no up front, if I think the library will be a good fit for me. I might try with just a few tracks at first to see how it goes.

Before signing anything I try to research the library as much as possible. Not all libraries are the same, and not all contracts are the same.

That said, so far I have never turned down an offer from a Taxi listing

[Paulie]

Just out of curiosity, are you writing instrumental cues for tv, or writing songs hoping to reach artists? The industry is leaning strongly toward "in perpetuity" deals and exclusives. I sort of prefer exclusives because I don't need to worry about who has what and who placed it, etc. But, I submit music to both. Most of my revenue so far has come from exclusive libraries. Remember, without those libraries our music is just sitting on our hard drives not generating any revenue. It's a symbiotic relationship.

Think of yourself as a musical assembly line. This is a numbers game, they are music cues, not children. Create them, send them on their way, and create more. And remember that just because a library gas your music doesn't mean it will get placed. You need quality AND quantity... do the math to figure out how many tracks you need in libraries and then get back to work!

Paulie

[jdstamper]

Listened to your track, it's really nice underscore. Nice work!

Seems like you could use this same set of sounds to do some more in a similar style, either for this library or another.

Also I would guess you could get more offers on this track from non-exclusive libraries from other listings, but there are no guarantees.

If it were me, I'd research the library as much as possible, it's likely I'd sign the deal and also create more tracks like it for future pitches.