Standard Library album deal $ ?

[shyof11]

I wanted to ask something to the more experienced composers that have worked with a decent amount of international libraries. How common is it to come across established libraries that ONLY do exclusive sync buyout deals that give the composer a small non recoupable advance($300-$400) per song for both vocal and instrumental songs plus 100% of writers share? Is this a rare business model or is it something you have come across frequently? From what I can tell the most common deals are the 0$ upfront 50/50 split across the board but I am wondering if this type of sync buyout deal is common as well.

If you ever find this deal let us know

The library I just signed with seems to only do this type of deal. Another industry person I talked to seemed to frown on this type of deal because of the risk of giving up potential sync $ I'm guessing. I'm confused as I am inexperienced so i'm not sure if I am over looking something in the contract. I guess there is pros and cons to every type of deal. For me I like the advance non recoupable $ but I guess the risk is signing off on all potential sync $ if your tracks turn out to be big earners??

[Casey H]

Yes, the most common deals (90+%) are $0 upfront and then 50/50 on syncs and you get 100$ writer's share of PRO. Upfront money doesn't happen much these days.

However, I have seen exclusive buyout deals (Taxi members here have gotten some) where you get paid $200-$400 upfront per track, maintain writer's share but give up future sync money. Those deals sound scary upfront with you giving up future sync. However, you have to consider the average lifetime sync earnings of a given track you place in a conventional library and the number is pretty small. Many tracks never earn sync or even get a placement, some maybe a few hundred in their lifetime, occasionally one will earn thousands. So while you have to be comfortable with whatever you sign, holding back for large future sync earnings MAY not be the best strategy. Often a bird in hand...

Best
Casey

[cosmicdolphin]

Also you gotta ask yourself if that library is likely to land any big $$$ syncs ...do they brag about about any big placements on their website ?

Basically if you want big syncs you have to be with a library that's getting placements in productions with big budgets...a Mom & Pop library might not be so good at that end of the market as a bigger more corporate entity with an in house sales and marketing team behind it.

Personally I would take multiple $200-400's over zero and crossing my fingers for a big one to land but that's probably because I've only ever had a few hundred in syncs from almost 500 tracks ( 95% instrumental )

[VanderBoegh]

Casey is right, many songs that you sign to libraries will never get placed. Some may take years to land a placement. Some may get placed multiple times for small sync fees. And every now and then, you write a Golden Goose that brings home the bacon - big syncs multiple times. You just have to be comfortable with whatever you do, and not look back and regret the deal later. Sure, it might be nice to take $400 now, but when that song lands a $5,000 placement and you get nothing for it.... well, that sucks. But on the flip side, you could take the $400 now (say you've got 3 songs @ $400 each - that might pay your mortgage for the month!), and the library might never make anything off those. Or, they may get them placed for "gratis" use (no sync), but you'll still collect your royalties.

I've done it all, believe me. Sometimes you have bills that need paying, and the next royalty check is still two months away. Those are the times I'm more likely to do upfront work like this. Oddly enough, here's a dose of reality: in my experience, these "upfront payments" you get take LONGER for you to receive than royalties!! So doing something for the money NOW isn't necessarily a good choice, because you hardly ever get paid NOW.

Here are some other common things I've ran across:

Years ago, I wrote a bunch of cues for a production company making multiple shows. They paid $125 per cue, and took half of the writer's share.
Recently I did a bunch of cues for a single real-estate show. They paid $250 per cue, and it was a complete buy-out, so they took all of the writer's share.
I've done a bunch of cues for a library working with an entire TV network's slate of shows. They paid $50 per cue, and took 25% of writer's share.
I also do a ton of work with a global company who only gives 25% of sync fees, BUT that also includes 25% of their blanket sync fees, which is awesome (you'll have to look that term up).

So, what USUALLY happens is upfront buy-out money is offset by assigning a portion of writer's share to the network or library. In that sense, it's kinda like a "recouperable advance" in a modified form.

But really, the gold standard - and my preferred choice - is zero upfront and an equal split on sync fees and 100% of writer's royalties.

I've been doing this for 12 years now, and have yet to work with a company that offers a sizable check upfront and leaves you with 100% of writers' share and a 50% split on sync fees. I wonder if that even exists anymore....

I typically roll the dice on any deal that's offered to me, but I make around 400 tracks per year and can afford to gamble like this. If your output is much smaller, you have to be much more selective and thoughtful.

~~Matt

[shyof11]

Wow thank you gang for these amazing insights and experiences you have shared. It is greatly appreciated and I have learned alot from this thread.
Cheers