This is the year

[teleblaster]

I love the breaking boards analogy. And thanks for some more of the specifics, Chuck. For someone like myself, who is just starting this path, it's hard to know what those mile markers and goals should look like.

Erich, I posted my first draft for a five year plan tonight. http://timbehrens.com/first-draft-of-my-five-year-plan/ Sorry it's a little 'bloggy'. I think my first goal in these first months is for me to really sit down and define some of the specifics... maybe identify some of the areas where I know I'm lacking, and then put on paper some short term goals to move me in a more knowing direction. I also set a couple of really specific things for myself that I can start working on right away.

I read through your 5yp, and left a comment Tim. Good stuff!

[cherbear]

Hi all!
Well, I did a 5 year plan, but it's kind of long, so rather than put up a big ol' post and bore everyone to tears , message me and I'll send it to you if you want to see it.
Great thread, all - thank you!!! I love this forum.

Cher

[Tim_Behrens]

Hey there Erich,

Thanks for taking the time to read through my post, and for the great suggestions. Like you say, I need to find an angle for developing cues and being more productive. I'm going to try and work on my guitar recording, and see what I come up with.
Let's touch base about the website stuff. I'd be glad to chat with you about it, and would love to hear more about your experiences with song licensing as well. I think you are a lot farther down the path than me, and any advice is always appreciated.

Cherbear, I sent you a pm. Would love to see your plan as well.
Thanks again for the great topic. It's been a big help.

[crs7string]

Erich, when you say write, record, license 100 tracks in 2011 I assume you mean sign them to libraries as opposed to actually having them licensed which, as far as I know, we have no control over?



Chuck you bring up something I wonder about: How many libraries can you feed without spreading yourself too thin? Is it better to concentrate your efforts on a select few productive libraries or go all in with as many as you can? I'm sure there is more than one answer to this but I'd love to hear thoughts.

eo

Ethan,

When I talk about the formula #of libraries X #tracks = Deals, I don't take the formula literally.

For instance, I signed about 45 cues with a library in 2008. I did not do anything with them in '09 and '10. This year I will probably sign 15 to 20 cues with them. So to get to 100 tracks signed I've got 80 to go. This could be 10 with 8 libraries, or 50 with one and 15 with two. However it breaks down is fine with me.

I think if the goal is to sign 100+ tracks, having 20 to 25 potential places to sign them can make some sense. Personally, I've tried to diversfy the libraries I work with based on the markets they serve (East coast vs. West coast, cable vs. networks etc)

The other thought is that over time we should all be "upgrading" the libraries we work with. I think this is a function of increasing the quality of our output and collecting the right placement credits to open better and better doors.

Becoming a "go to guy" also helps accelerate the process of signing tracks and can be a great motivator to know that your music may get to the marketplace a little quicker.

Chuck

[cherbear]

Hi Tim! Just sent it.

Cher

[eeoo]

Ethan,

When I talk about the formula #of libraries X #tracks = Deals, I don't take the formula literally.

For instance, I signed about 45 cues with a library in 2008. I did not do anything with them in '09 and '10. This year I will probably sign 15 to 20 cues with them. So to get to 100 tracks signed I've got 80 to go. This could be 10 with 8 libraries, or 50 with one and 15 with two. However it breaks down is fine with me.

I think if the goal is to sign 100+ tracks, having 20 to 25 potential places to sign them can make some sense. Personally, I've tried to diversfy the libraries I work with based on the markets they serve (East coast vs. West coast, cable vs. networks etc)

The other thought is that over time we should all be "upgrading" the libraries we work with. I think this is a function of increasing the quality of our output and collecting the right placement credits to open better and better doors.

Becoming a "go to guy" also helps accelerate the process of signing tracks and can be a great motivator to know that your music may get to the marketplace a little quicker.

Chuck

Thank you Chuck, good thoughts and very enlightening.
eo