# Excl. libs: How many do you write for?



## mwarsell (May 28, 2017)

It seems that more and more libs are switching to excl. I'm having a hard time finding good non-excl non-RF libs. So...how many do you partner with?

(another library music thread...how about a new sub-forum?)


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## rvb (May 28, 2017)

I actually really understand why excl. is the way to go, I personally don't mind making specific tracks for specific libraries. I know that doesn't help you in any way, but just felt like sharing .


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## dannymc (May 29, 2017)

what you don't want to do is over-stretch yourself and end up trying to write for too many exclusive libraries at once. if you cant keep up with their briefs they will just drop you as they will just think you have moved on or are not dependable. i've only been writing for exclusive libraries little over a year and its still only a hobby so i've no idea whats a good number to be writing for at once. if i was full time i might write for more. at the moment writing for 4 is about the most i can handle around my day job. 

i think you'll find the pro's have 2 or 3 select libraries that they have formed good lasting relationships with over the years. this thing of writing for 10 libraries i dont get at all. 

Danny


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## muk (May 30, 2017)

Sound advice from Danny in my opinion. I'm only writing library music part time, and started out not too long ago. At the moment I am writing for two exclusive libraries. Just finished a project for one. Right now these two libraries have enough projects for me to keep me busy. Very nice contacts with both too, so for now I'm happy and have work enough. Basically, the amount of pieces you can write vs the amount of pieces the libraries you are with want from you will determine how many libraries you want to write for.


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## R. Soul (May 30, 2017)

I wish I was in a position to write for library A and library B, but mostly I just keep throwing my music at the wall to see where it sticks. Which is often a new library every time.


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## Phryq (May 30, 2017)

dannymc said:


> what you don't want to do is over-stretch yourself and end up trying to write for too many exclusive libraries at once. if you cant keep up with their briefs they will just drop you as they will just think you have moved on or are not dependable. i've only been writing for exclusive libraries little over a year and its still only a hobby so i've no idea whats a good number to be writing for at once. if i was full time i might write for more. at the moment writing for 4 is about the most i can handle around my day job.
> 
> i think you'll find the pro's have 2 or 3 select libraries that they have formed good lasting relationships with over the years. this thing of writing for 10 libraries i dont get at all.
> 
> Danny



Sorry if it's too personal, but can I ask how much $$ you're making (from 1 library, or any of them), as I'd like to know, if I started writing for libs now, how much I might make in 1 year.


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## dannymc (May 30, 2017)

R. Soul said:


> I wish I was in a position to write for library A and library B, but mostly I just keep throwing my music at the wall to see where it sticks. Which is often a new library every time.



maybe you are not joining the right libraries. it shouldn't be that you are throwing your music at the wall and seeing what sticks you should instead be strategic and send your music to the libraries that specialize in your sound. this is why i think the advice i got early on is important. don't try to be an expert in all genres it will just make your music sound generic and the libraries wont be able to identify your strengths and weaknesses. 

Danny


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## R. Soul (May 30, 2017)

dannymc said:


> maybe you are not joining the right libraries. it shouldn't be that you are throwing your music at the wall and seeing what sticks you should instead be strategic and send your music to the libraries that specialize in your sound. this is why i think the advice i got early on is important. don't try to be an expert in all genres it will just make your music sound generic and the libraries wont be able to identify your strengths and weaknesses.
> 
> Danny


I don't know any libraries that specialises in 'my sound' - if there is such a thing. As far as I know most libraries wants every style under the sun. But they want different stuff all the time - not the same as they released last week.
Perhaps you are talking about 'trailer libraries'? I guess they want the same stuff all the time.
But other libraries don't want a 'eastern europe beats' album if they released one last week


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## doctornine (May 30, 2017)

Phryq said:


> Sorry if it's too personal, but can I ask how much $$ you're making (from 1 library, or any of them), as I'd like to know, if I started writing for libs now, how much I might make in 1 year.




If it's your first year, allowing for broadcast, royalty collection etc etc..... you'll probably make nothing.

If you're 3 to 5 years in, couple hundred tracks in, some nice money.


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## Phryq (May 30, 2017)

dannymc said:


> maybe you are not joining the right libraries. it shouldn't be that you are throwing your music at the wall and seeing what sticks you should instead be strategic and send your music to the libraries that specialize in your sound. this is why i think the advice i got early on is important. don't try to be an expert in all genres it will just make your music sound generic and the libraries wont be able to identify your strengths and weaknesses.
> 
> Danny



How do you find a library that specializes in 'my sound'. I would *love* to find something like that.


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## dannymc (May 31, 2017)

Phryq said:


> How do you find a library that specializes in 'my sound'. I would *love* to find something like that.



as Mike Verta says, find your audience. 

Danny


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## Desire Inspires (May 31, 2017)

Phryq said:


> How do you find a library that specializes in 'my sound'. I would *love* to find something like that.



If you can't find one, either change your style or create your own music library that specializes in what you do. 

I think that a short term goal would be to just adapt to what gets licensed and make a bunch of that.

A long term goal is to create what you love on the side and work to create a company based around that. It will be worth it in the end, even if it fails.


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## mwarsell (Jun 1, 2017)

One has to do some heavy-duty research (MLR helps) to find out a) which libraries have even somewhat similar tracks as you write b) are they accepting submissions in the first place c) do they have some real clients/placements d) are they reliable and not scammy.


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## muk (Jun 1, 2017)

Apparently the list of subpublishers can be an indicator of the reach of a library. Other than that it's always a bit of a blind shot for the composer. You have to place a few tracks with a library and then wait and see if anything gets placed.


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## dannymc (Jun 1, 2017)

muk said:


> Apparently the list of subpublishers can be an indicator of the reach of a library. Other than that it's always a bit of a blind shot for the composer. You have to place a few tracks with a library and then wait and see if anything gets placed.



yeah i would second that. if they have a stellar distribution network throughout the world chances are they've been in the business for a while and have good relationships in the industry. also should check to see if they are getting recent placements and not just stuff from 5 years ago. a lot harder to measure the quality of newer libraries into the game other than going with your gut instinct.

Danny


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## StevenMcDonald (Jun 1, 2017)

Right now, I'm writing for 3 exclusive libraries. But I'm trying to multiply that number until I panic and realize I've spread myself too thin.


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## thov72 (Jun 3, 2017)

does any one of you collaborate with other composers? / what do you think about collaborating?
I´ve asked myself recently if that would be an option for me since I´m quite fast at writing melodies but not so good at the technicl/production part....


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## Phryq (Jun 3, 2017)

thov72 said:


> does any one of you collaborate with other composers? / what do you think about collaborating?
> I´ve asked myself recently if that would be an option for me since I´m quite fast at writing melodies but not so good at the technicl/production part....



If you want to try, send me a test track. I'll produce it. If the results are good; we can be a team.


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## thov72 (Jun 5, 2017)

thanks , although I´d probably rather pay someone if it would be just about production (wait...I´m broke...)
I´d prefer a collaboration where the other guy and I would work on a song together, each one focussing on his strengths, ....mine being melodies the other guy hopefully being good at midi massaging and production. I think it would also be a nice way to learn, bcause two people have different ideas....

What do you guys think about collaborating in general?


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## Phryq (Jun 5, 2017)

When I was younger I hated the idea of collaborating. I really wanted full control. My weaknesses are

1 - Conforming to an idea (e.g. I need to write fight music, but I feel like writing love music).
2 - Marketing.

I'm good at,

Melodies (well, weird ones)
Harmonies
Production

Now I think collaboration would be interesting, especially if there were a chance to make money. I like the idea of splitting profits 50/50 and keeping things simple.


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