Why a Music Library Might REGRET They Signed You

[superblonde]

The term "A&R", which stands for artist & repertoire, used by an "A&R company", means a company which offers performance services to artists in order to build the talent-skills of the artist.

[Casey H]

The term "A&R", which stands for artist & repertoire, used by an "A&R company", means a company which offers performance services to artists in order to build the talent-skills of the artist.

What is your point relative to this topic?

[superblonde]

“I just had a composer finally address all the technical issues, only to deliver (another technical problem) so they need to be resent all over again. The problem is, no matter what anyone says, any new deliverable needs to be quality controlled

ML, here is a related question to fixing technical aspects of a submission:

Typically a submission to a listing is done by uploading a track before the deadline and submitting that music to the listing. An updated version of the track can be re-submitted to the listing before the deadline to fix problems noticed before the deadline. This is done through the website by Editing the submission under the Actions column. Recently I submitted a track and wanted to resubmit a new mix before the deadline. However the Actions on the website did not allow editing the submission. The only way to correct the track was to submit a new track to the listing and pay for this new submission. I called the office and got this cleared up with the reason being "Sometimes the Actions to edit a submission is not available even when the deadline hasn't yet passed." Explain: Under what conditions does this occur, that a submission can't be edited (re-uploaded to fix a technical problem) prior to the listing Deadline? What should the composer do, in these cases (note, calling the office every time an update is needed to a track, is not a good option) ?


The related point to my question above is that the technical problems described by the music library owner are related to the inadequacies of the employer and the employer's systems, not a fault of the non-salaried gig worker (the composer). The music library owner complains about technical problems with tracks being sent in and the "cost" for quality-control of those tracks. The underlying problem is that the music library owner does not have proper submission/resubmission methods. For example, a sample rate problem can easily be detected as part of the submission process (i.e. before/during upload) so that the gig worker is immediately notified to correct the problem before the track is accepted, and this adds no overhead cost to the music library for quality-control. It is not fair to blame the Employer's lack of operational controls on the non-salaried gig workers. The employer (every music library owner) has a depth of specific knowledge & expertise which their gig workers will not have, so gig workers will rarely be able to meet the Employer's needs without training. It is the music library owner's fault, not the composers', if technical problems such as "sample rate mismatch" are allowed to enter their submission process, and it is the Employer's responsibility to handle excess time & money needed for quality-control (the financial pressure will force the Employer to upgrade their systems to reduce this cost and streamline the composer's submission process). These aspects of submitting music should be automated and provide immediate feedback to the composer, with no human intervention required; it is the responsibility of the Employer to create such systems for the gig workers. If the Employer wants more experienced & knowledgeable composers then they should hire permanent, salaried employees as composers, rather than random gig workers; that is the labor solution to ensuring the output of workers meets an employer's work standards.

[Telefunkin]

I guess you can always blame the dog for eating your homework.

[cosmicdolphin]

The underlying problem is that the music library owner does not have proper submission/resubmission methods.

They do. All of them have a proper submission method. What you are descibing is a system to weed out when writers don't adhere to the method laid out.

For example, a sample rate problem can easily be detected as part of the submission process (i.e. before/during upload) so that the gig worker is immediately notified to correct the problem before the track is accepted,

Yes I submit to several libraries that have this. You can't submit the wrong sample rate, bit depth, or tracks that are too quiet/too loud and on cutdowns you can't submit an incorrect length i.e. 60's & 30's have to be just that

and this adds no overhead cost to the music library for quality-control.

That's where youre wrong, it does because these platforms have to be developed at the expense of the Library and I'm fairly sure they ain't cheap or they would just all have them.

If the Employer wants more experienced & knowledgeable composers then they should hire permanent, salaried employees as composers, rather than random gig workers; that is the labor solution to ensuring the output of workers meets an employer's work standards.

It's also incumbent on the composer to understand this stuff - Or they can just use someone like me that knows the ropes already ( but is still a gig worker .....who would you rather drive your Uber ? An experienced person that knows their way around all the main routes and also understand how the vehicle works on a technical level....or someone that just passed their driving test and has never ventured outside their neighbourhood ? )

[Casey H]

The related point to my question above is that the technical problems described by the music library owner are related to the inadequacies of the employer and the employer's systems, not a fault of the non-salaried gig worker (the composer). The music library owner complains about technical problems with tracks being sent in and the "cost" for quality-control of those tracks. The underlying problem is that the music library owner does not have proper submission/resubmission methods. For example, a sample rate problem can easily be detected as part of the submission process (i.e. before/during upload) so that the gig worker is immediately notified to correct the problem before the track is accepted, and this adds no overhead cost to the music library for quality-control. It is not fair to blame the Employer's lack of operational controls on the non-salaried gig workers. The employer (every music library owner) has a depth of specific knowledge & expertise which their gig workers will not have, so gig workers will rarely be able to meet the Employer's needs without training. It is the music library owner's fault, not the composers', if technical problems such as "sample rate mismatch" are allowed to enter their submission process, and it is the Employer's responsibility to handle excess time & money needed for quality-control (the financial pressure will force the Employer to upgrade their systems to reduce this cost and streamline the composer's submission process). These aspects of submitting music should be automated and provide immediate feedback to the composer, with no human intervention required; it is the responsibility of the Employer to create such systems for the gig workers. If the Employer wants more experienced & knowledgeable composers then they should hire permanent, salaried employees as composers, rather than random gig workers; that is the labor solution to ensuring the output of workers meets an employer's work standards.

I'm going to march into my boss's office right now and tell him that my not listening to his directions is purely a failure on his part.

[boinkeee2000]

I work with a few excl publishers (and also a few rf) who hava a program in place to automate such tasks,and frankly those apps look expensive. but most dont, and the majority of PMA labels i work with will only send you a brief w/ submission guidelines, metadata sheet, and a sched A with the understanding that you will adhere to all deliverables without any explanation or guidance. some wont even take you in if you dont know the fundamentals like contract terms, industry lingo, or have no credits to your bio...

this is a competitive biz and sometimes you only get one shot

[Paulie]

It is not fair to blame the Employer's lack of operational controls on the non-salaried gig workers. ... It is the music library owner's fault, not the composers', if technical problems such as "sample rate mismatch" are allowed to enter their submission process, and it is the Employer's responsibility to handle excess time & money needed for quality-control (the financial pressure will force the Employer to upgrade their systems to reduce this cost and streamline the composer's submission process).

Frankly this expectation is silly. Blaming others for one's inability to follow instructions is asinine and childish, wrought of a spoiled generation that grew up on playgrounds where everything was covered in foam, parents helicopter in to save their children from being exposed to things like red ink on homework or the horrible embarrassment of being graded on tests, and where a trophy is expected just for showing up.

We are all grownups. Do the freaking work needed. Follow the instructions and consider all of the people involved in the business transaction. Read the &^%$% brief is the BEGINNING of the process. READ THE #$&^# COMPOSER SUBMISSION DOCUMENTATION is equally important. If you are fortunate enough to EARN the chance to work with someone that can get your music placed, you owe them the decency of being able to be a professional. Are there libraries with crappy submission portals? Yes. Are there libraries that don't even have portals and rely on file transfer tools? Yes. Does it cost money to develop smart tools that can check the work of those too lazy to properly follow instructions? Yes. If you want to succeed in this business you need to play by the rules and be flexible.

Those that know me personally know I can be abrasive (like this post). But those that work with me have repeatedly complimented me for my professionalism. I've been told by more than one library owner, unsolicited, that they are shocked at how whiny and difficult some composers can be. Having been around them for about four decades, I understand. Creatives are their own worst enemy at times. Things like being on time, following instructions, and being professional in general, for some reason or another seem to be ignored. I'm fine with it, because business morons that can't handle the basics make ME look great to my clients by comparison.

So, don't blame the tools. Do the work, or find some other career that panders to the needy and incapable.

#SorryNotSorry

[Telefunkin]

All of the above from Paulie !!!!!!
If that's too much to ask then play a different game.
...and don't get a dog.

[Casey H]

...and don't get a dog.

It is the responsibility of the dog to get himself fed. Anything else is just an inadequacy on the part of the pet themself.