A question from a newbie.

[MidnightRabbit]

Hi there,

I'm new here, I really want to educate myself about Music Licensing and Placements.

I have two questions:

1) Can I submit tracks that are already on Spotify?

2) Can I publish music on Spotify after getting signed by a library deal?


I make electronic dance music albums, focused on Sci-Fi, Cinematic, Cyberpunk, Electronic-Rock.
I would like to place my music on TV, Films, projects, any advice?


Thanks in advance.

[Casey H]

1) Can I submit tracks that are already on Spotify?

2) Can I publish music on Spotify after getting signed by a library deal?

(1) Generally yes unless the listing specifically says otherwise.

(2) It varies among exclusive libraries (Doesn't apply to non-exclusive). Many allow you to still put your tracks on streaming sites, sell downloads, etc. as the consider the exclusiveness to only apply to sync related vehicles (e.g. sync'd to video). Some want full exclusivity that applies to any and all ways your tracks might be used. So when you get an exclusive contract offer, read it carefully and if it's not clear, ask questions.

HTH
Casey

[cosmicdolphin]

I make electronic dance music albums, focused on Sci-Fi, Cinematic, Cyberpunk, Electronic-Rock.
I would like to place my music on TV, Films, projects, any advice?

Yeah - Many newbies find that the stuff they wrote before they joined often isn't suitable...this can be for many reasons..

1. Generally instrumental cues have a formula/format that works for the editors on the TV shows that's somewhat different to what you might produce for your own releases
2. There can be issues clearing them with some Libraries if you've plastered them all over various streaming platforms etc
3. Many need to raise their production quality to get it to sound broadcast quality
4. You might be writing a genre/style that doesn't get much traction on TV

So best advice is write new stuff and write it specifically for the listings, be open to trying some new genres ( I've had stuff on TV in all sorts of genres that I had never even heard of pre-Taxi ) and don't beat yourself up too much if you get a bunch of returns early on -We've all had them.

Mark

[Casey H]

I agree with what Mark said. A few added thoughts. If you have music already out there in the streaming world and you see a non-exclusive library listing for which your track TRULY meets the requirements, definitely go for it. Regarding submitting to listings for exclusive libraries, 3 of 4 I'm in allow you to do non-sync related things with the music you sign. One, which is vocal song oriented, encourages it. But, yes, there is some risk (not huge but there) that you'll submit to an exclusive listing, the library will contact you, and you won't be able to sign because the tracks are out there. However, it could also be an opportunity to say, "I can send you more tracks of that style" and follow up quickly with new ones. That's something you also do if by the time a library contacts you, the particular tracks are signed and no longer available. They want tracks of that style and you have what it takes to create them. To be clear, don't do this if the listing says it's restricted as far as streaming releases, etc.

The most important thing when submitting is that your track is a very tight match to the listing, especially the reference tracks. Shotgunning stuff you already have lying around that doesn't meet the requirements never works. For whatever you are thinking of submitting, new or old, do a lot of A/B listens with the reference tracks and be honest with yourself as to the match. You can post on the peer to peer section of this forum for feedback as far as the track and how it fits the listing.

And Mark is correct that those who write new tracks very specific to the listings have the most forwards.

Good luck!
Casey

[Casey H]

Additional note:
Taxi sometimes makes this easy with this in a listing. I just saw this in one I was checking out:

IMPORTANT NOTE: This company has specifically asked that you only send unreleased Songs that aren't already commercially available. If you've already released them on Spotify, Apple Music, etc., or if they’re already published or administered by CD Baby Pro, TuneCore, etc., please do not submit them.

Casey

[MidnightRabbit]

I make electronic dance music albums, focused on Sci-Fi, Cinematic, Cyberpunk, Electronic-Rock.
I would like to place my music on TV, Films, projects, any advice?

Yeah - Many newbies find that the stuff they wrote before they joined often isn't suitable...this can be for many reasons..

1. Generally instrumental cues have a formula/format that works for the editors on the TV shows that's somewhat different to what you might produce for your own releases
2. There can be issues clearing them with some Libraries if you've plastered them all over various streaming platforms etc
3. Many need to raise their production quality to get it to sound broadcast quality
4. You might be writing a genre/style that doesn't get much traction on TV

So best advice is write new stuff and write it specifically for the listings, be open to trying some new genres ( I've had stuff on TV in all sorts of genres that I had never even heard of pre-Taxi ) and don't beat yourself up too much if you get a bunch of returns early on -We've all had them.

Mark

Thanks for your insights, they are really helpful and make a lot of sense. I'm learning about the AVID format/formula for instrumental cues. They said this is for everyone, but it's not, this is a different craft from my point of view, a different workflow and approach to music-making, plus curve knowledge always takes time. Thanks again have a great day/night.

[MidnightRabbit]

I agree with what Mark said. A few added thoughts. If you have music already out there in the streaming world and you see a non-exclusive library listing for which your track TRULY meets the requirements, definitely go for it. Regarding submitting to listings for exclusive libraries, 3 of 4 I'm in allow you to do non-sync related things with the music you sign. One, which is vocal song oriented, encourages it. But, yes, there is some risk (not huge but there) that you'll submit to an exclusive listing, the library will contact you, and you won't be able to sign because the tracks are out there. However, it could also be an opportunity to say, "I can send you more tracks of that style" and follow up quickly with new ones. That's something you also do if by the time a library contacts you, the particular tracks are signed and no longer available. They want tracks of that style and you have what it takes to create them. To be clear, don't do this if the listing says it's restricted as far as streaming releases, etc.

The most important thing when submitting is that your track is a very tight match to the listing, especially the reference tracks. Shotgunning stuff you already have lying around that doesn't meet the requirements never works. For whatever you are thinking of submitting, new or old, do a lot of A/B listens with the reference tracks and be honest with yourself as to the match. You can post on the peer to peer section of this forum for feedback as far as the track and how it fits the listing.

And Mark is correct that those who write new tracks very specific to the listings have the most forwards.

Good luck!
Casey

That's a smart move, apply then probably negotiate, or at least you can make some kind of connections. ( also it could be a bit expensive if you are sending too many tracks ), I noticed that just a few briefs let us know how much are they paying, most of them just talk about percentages. So we can not have the data to make a deep analysis, of our investment (TIME, MONEY) . About PEER TO PEER, that sounds great! A well-versed pair of fresh ears is something needed to progress. Thanks for all your information, and insights. Have a good one.
Cheers!

[Casey H]

That's a smart move, apply then probably negotiate, or at least you can make some kind of connections. ( also it could be a bit expensive if you are sending too many tracks ), I noticed that just a few briefs let us know how much are they paying, most of them just talk about percentages. So we can not have the data to make a deep analysis, of our investment (TIME, MONEY) . About PEER TO PEER, that sounds great! A well-versed pair of fresh ears is something needed to progress. Thanks for all your information, and insights. Have a good one.
Cheers!

The overwhelming majority of music library deals pay the same; $0 upfront, everything else split 50/50 - sync fees and PRO earnings. There are some exceptions with upfront money, different splits, but not a lot. Direct to supervisor is different where the listing will estimate what the upfront sync fee might be (or a max). But those are by far the most competitive Film/TV opps and deals are therefore that much harder to land. If you are looking to get started in the music library world, assume things will be like the most common one above.

Casey

[cosmicdolphin]

I noticed that just a few briefs let us know how much are they paying, most of them just talk about percentages. So we can not have the data to make a deep analysis, of our investment (TIME, MONEY) .

I'll jump in on the instrumental cue side of it , Casey can tell you more about songs.

So generally the way it works is you give the Library the music Gratis ( i.e. for free ) and in return they take it into their catalogue to offer to their clients. if you're lucky it winds up on TV at some later point in time which might be a few months or a few years down the line or never.

Then somewhere between 6-24 months after it's been on TV you'll get some performance royalties via your PRO based on a very complex formula that nobody knows except for the PRO's but it involves the amount of airtime, the network , time of day etc. My range of earnings from a single cue is from a few pence up to about £450 ( which took a couple of years to trickle in )

If you're very lucky there are times when you might get a one off payment for someone to use your cue in say an advert or a video game or even a movie. This is called a Sync Fee but this depends on the library and their clients, as a lot of libraries charge a blanket fees so their clients can use the music on an all you can eat buffet type deal and there are no sync fees to be had, only the backend royalties.

If you need money 'now' my advice would be go find something else that pays by the hour as in the short term it's a lot of work for not much return. Some times in the medium to longer term it's a lot of work for not much return I have a day job so music is my hobby / side hustle whatever you want to call it.

I estimate I've put around 6 - 7k hours into production music and I've recently made my 500th track. I haven't made much money yet, in fact the money I have earned has been more than swallowed up by my costs but I have written an update each year for the past few years laying out my Sync Music journey.

six-year-update-t148673.html

There are folks from Taxi that have done way better , way faster than me but there are also a lot more that can't produce the goods and don't really get anywhere. So it depends how good you are to start with and how fast you can learn , plus a little luck along the way as to which LIbraries you end up in.

All in all the whole thing is highly variable, and slow moving. You have to give it 2-3 yrs at least before you can start seeing any traction or income and when it does come it's a trickle at first.

[MidnightRabbit]

Thanks, man for your honesty. Your information is pure gold. Numbers never lie.
I agree with everything you say. It looks very hard when there's no follow-up or feedback about your work. It's like running in the dark. You don't know what's happening on the other side, so you can't control the situation to boost, change your performance in your career as a composer for libraries/Tv/Film placements. I worked for a recording studio in New York, so the deal was exactly the same. You upload lots of tracks to make their catalog bigger, if the Major Label wants your track for an upcoming album/artist, then they buy your track. In the meantime, you make $0.00.

I'll keep learning about this business.

See ya around.