Brand new here - Should I be here?

[GPDoc]

Thanks for the input. This brings other questions to mind: when the library requests multiple alternative mixes, stems etc. does that affect compensation, is it still all considered to be the same piece, or is it possible that they would use the variations each as separate pieces in the library, or is it just so that a client is given more flexibility in how to use the piece?

[cosmicdolphin]

When the library requests multiple alternative mixes, stems etc. does that affect compensation, is it still all considered to be the same piece, or is it possible that they would use the variations each as separate pieces in the library, or is it just so that a client is given more flexibility in how to use the piece?

It's standard practice to give the clients more options which obviously increases your chance of a placement long term. On my latest PRO statement about a quarter of them are Alt Mixes. it makes no difference to the royalty rates at all ( if that's what you meant by compensation ) but obviously without those other versions my cue might not have been suitable for the spot. Most of them are the mix with the lead parts removed and or a "lite" mix which has no leads and less percussion etc.

Mark

[GPDoc]

I guess I have some confusion as to if income is generated by listing with the library or only if the library has found the end user client who will put the music out to the public. I am thinking it is better to be naive on the forum if it can prevent naivete when making the real deal. That's my excuse, and I'm sticking to it. Thanks for all the help.

[cassmcentee]

Think of it this way... (not perfect but gets the idea across)
Your tunes are rental cars
The library is the Rental Car Company that signed your car to be parked on their lot
When your car get's rented you make money and the Rental Company get's money

[wallypeterson]

Close on a few, but no forwards yet. But my recording game has been very slack this year for various reasons, so my submissions have all been previously recorded stuff.

[cosmicdolphin]

I guess I have some confusion as to if income is generated by listing with the library or only if the library has found the end user client who will put the music out to the public. I am thinking it is better to be naive on the forum if it can prevent naivete when making the real deal. That's my excuse, and I'm sticking to it. Thanks for all the help.

Broadly speaking, you won't usually get paid anything just by having your tracks accepted into a Library but once they are in their catalog they'll be available to the end users ( TV & Film Production companies, Advertising Agencies etc )

If one of these end users decides to licence your music and use it in a show then some sort of payment will eventually come your way depending on that use. The most common scenario is it may end up in a TV reality show in which case you would earn performance royalties ( also know as ' back-end ') once the production company file what's called a cue sheet which lists all the music used in the show which is then sent to your PRO to pay you. There are other scenarios where you might get some other payment like a blanket split ( a small share of an annual fee charged by the Library to the Production Companies ) or others where it " airs" on something that doesn't generate performance royalties like Facebook Watch for example and you get a little something direct from the Library for that.

Sync Fees are another way of earning money, this is usually for shows / movies /adverts with higher budgets. You've probably seen the listings for varying amounts from $200 upwards. This is more often stuff like scripted drama shows where it's not wall to wall music all the and the show may have a main composer but every so often they need a particular track for a certain scene as 'source music' like a jukebox in a bar or a scene in a nightclub that has an EDM track playing. Because they don't have the budget to licence a famous track , those spots are often filled by Library Music composers or songwriters music.

There are some Libraries that WILL pay you something up front just to take the tracks exclusively into their Library but you often have to waive the rights to getting a share of any Sync Fees. These also tend to be Libraries that are higher up the food chain and more difficult to get into than others.

Mark

[cosmicdolphin]

so my submissions have all been previously recorded stuff.

Ahhhh....yeah that never usually tends to work well, writing to the listings is the key according to all the successful members.

[GPDoc]

I guess I have some confusion as to if income is generated by listing with the library or only if the library has found the end user client who will put the music out to the public. I am thinking it is better to be naive on the forum if it can prevent naivete when making the real deal. That's my excuse, and I'm sticking to it. Thanks for all the help.

Broadly speaking, you won't usually get paid anything just by having your tracks accepted into a Library but once they are in their catalog they'll be available to the end users ( TV & Film Production companies, Advertising Agencies etc )

If one of these end users decides to licence your music and use it in a show then some sort of payment will eventually come your way depending on that use. The most common scenario is it may end up in a TV reality show in which case you would earn performance royalties ( also know as ' back-end ') once the production company file what's called a cue sheet which lists all the music used in the show which is then sent to your PRO to pay you. There are other scenarios where you might get some other payment like a blanket split ( a small share of an annual fee charged by the Library to the Production Companies ) or others where it " airs" on something that doesn't generate performance royalties like Facebook Watch for example and you get a little something direct from the Library for that.

Sync Fees are another way of earning money, this is usually for shows / movies /adverts with higher budgets. You've probably seen the listings for varying amounts from $200 upwards. This is more often stuff like scripted drama shows where it's not wall to wall music all the and the show may have a main composer but every so often they need a particular track for a certain scene as 'source music' like a jukebox in a bar or a scene in a nightclub that has an EDM track playing. Because they don't have the budget to licence a famous track , those spots are often filled by Library Music composers or songwriters music.

There are some Libraries that WILL pay you something up front just to take the tracks exclusively into their Library but you often have to waive the rights to getting a share of any Sync Fees. These also tend to be Libraries that are higher up the food chain and more difficult to get into than others.

Mark

Oh, that sure clears things up a lot. Thanks

[cosmicdolphin]

Oh, that sure clears things up a lot. Thanks

No worries, that's by no means an exhaustive list so there are other deals etc. you may come across where the income pie is sliced differently.

[GPDoc]

Is it your experience that deals are pretty much "take it or leave it" or are there usually, or sometimes, options that are open to negotiation, within "reason"? I do suspect that once a writer is established he would have more options?