Instrumental Cues and 'Non-Exclusive' agreements
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Instrumental Cues and 'Non-Exclusive' agreements
Am I the only one? That is, has anybody else noticed the (almost) complete decline of Non-Exclusive Agreements? I'm a big proponent of NEA's.
Thoughts please.
Thanks
Thoughts please.
Thanks
- cosmicdolphin
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Re: Instrumental Cues and 'Non-Exclusive' agreements
Yes it's definitely a "thing" , the gradual shift towards exclusivity
I think long term the Non-Ex market will mainly be in RF type libraries that supply music for content creators , and the libraries supplying for the broadcasters will demand exclusivity otherwise it hampers their ability to sub publish into other territories.
I think long term the Non-Ex market will mainly be in RF type libraries that supply music for content creators , and the libraries supplying for the broadcasters will demand exclusivity otherwise it hampers their ability to sub publish into other territories.
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- Rolf
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Re: Instrumental Cues and 'Non-Exclusive' agreements
@Cosmicdolpin is right, it's the sub-publishing thing.
- Casey H
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Re: Instrumental Cues and 'Non-Exclusive' agreements
This has been a trend for a long time now that continues, especially with instrumental cues. Quite a few of the libraries I started with many years back who got me my first placements were non-exclusive. They even bragged about that. Then they got push back from the TV production companies and sups and started changing to exclusive. Music sups were getting hard drives full of tracks from different libraries and getting annoyed hearing the same cues on each, a major annoyance and time waster for them. And there was also concern about multiple claims as to whose placement was it and didn't want legal hassles.
There was one remaining non-ex one I met through Taxi that used to get me instrumental placements on shows like Catfish (MTV). The pandemic hit them pretty hard, not sure how active they still are.
Cosmic is right that the RF market is an option but you may find the money very small. Another market I've done OK with is the in-store airplay one, mainly overseas. I bring in about $200 a quarter right now from libraries that specialize in that. However that's mainly for vocal songs and number of songs matters a lot as some will do well, others almost nothing.
No PMs for library names, please.
Good luck!
Casey
There was one remaining non-ex one I met through Taxi that used to get me instrumental placements on shows like Catfish (MTV). The pandemic hit them pretty hard, not sure how active they still are.
Cosmic is right that the RF market is an option but you may find the money very small. Another market I've done OK with is the in-store airplay one, mainly overseas. I bring in about $200 a quarter right now from libraries that specialize in that. However that's mainly for vocal songs and number of songs matters a lot as some will do well, others almost nothing.
No PMs for library names, please.
Good luck!
Casey
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Re: Instrumental Cues and 'Non-Exclusive' agreements
Thanks, Guys.
I've had fair luck with both over the years; then I looked up one day and BOOM - they're practically gone. And now, back to lurksville.
Take care
I've had fair luck with both over the years; then I looked up one day and BOOM - they're practically gone. And now, back to lurksville.
Take care
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Re: Instrumental Cues and 'Non-Exclusive' agreements
For some time, the top libraries have found that better than half of their income is generated from productions originating outside the US.
As previously mentioned, a non-exclusive library cannot enter into foreign sub publishing agreements. An exclusive library assigns the rights to their music in their catalog to the sub publisher. A non-exclusive library does not hold those rights.
The world is a big place. Signing music with exclusive libraries greatly expands one’s opportunities for placements, and hence, income.
I have been focusing on the foreign market idea for some time. Last year, my BMI international royalty income was nearly double my domestic income.
As previously mentioned, a non-exclusive library cannot enter into foreign sub publishing agreements. An exclusive library assigns the rights to their music in their catalog to the sub publisher. A non-exclusive library does not hold those rights.
The world is a big place. Signing music with exclusive libraries greatly expands one’s opportunities for placements, and hence, income.
I have been focusing on the foreign market idea for some time. Last year, my BMI international royalty income was nearly double my domestic income.
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