# Being your own publisher - music library - straight to clients



## gsilbers (Jan 3, 2015)

I write for a few music libraries and they get my music into TV show so it's cool.
But with an ever expanding catalogue I am was wondering about pitching music straight to music supervisors who deal with reality TV and also to broadcast networks who might need promo music etc.
This is the case for composers looking to score a movie or scripted show but how about music library type of scenario? Anyone doing it and had success with blind pitches?

Besides opinions on the above - if it's a good idea to spend time doing that instead of writing - how about contracts ? Or any other info I might not be contemplating. 
Thx[/list]


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## Guy Rowland (Jan 3, 2015)

gsilbers @ Sun Jan 04 said:


> I write for a few music libraries and they get my music into TV show so it's cool.
> But with an ever expanding catalogue I am was wondering about pitching music straight to music supervisors who deal with reality TV and also to broadcast networks who might need promo music etc.
> This is the case for composers looking to score a movie or scripted show but how about music library type of scenario? Anyone doing it and had success with blind pitches?
> 
> ...



I'd say no. Maybe others have different experiences, but what most music supervisors need aren't individual composers with a couple of hundred tracks - they want 250,000 tracks and a brilliant search engine.

I've thought for some time that the search engine is the critical component, not the library. There would be nothing to stop 5,000 composers getting together, all self published, and selling their wares via one unified search engine (and for convenience it would help to have the same basic contracts at the client end). To compete with the big guns, it really would have to be big numbers though. And the biggest problem would be keeping the quality threshold high - you couldn't have anyone upload their music and metadata, or else the site would be cluttered with junk. You'd need good results every time you search to get music supervisors to trust you.


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## rJames (Jan 3, 2015)

I believe that Guy has it right on.

Big catalog, completed contract. These are the things that the big established libraries have over composers.

Well, that and they have relationships of trust built up with their music clients. And they have experienced music supervisors who can point clients in the right direction without sending material that is not on spec.

Ron


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## stevelemaire (Jan 3, 2015)

I can think of a few production music libraries that are owned by two guys who do all the writing: Two steps From Hell and Confidential Music. How many tracks could they have...maybe a few hundred, if that? They seem to be doing very well....they also have incredible music probably started with lots of connections in the industry. I wonder how they make it work...?


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## AC986 (Jan 4, 2015)

gsilbers @ Sat Jan 03 said:


> Or any other info I might not be contemplating.
> Thx[/list]



Distributors and distribution?



Guy Rowland @ Sat Jan 03 said:


> I'd say no. Maybe others have different experiences, but what most music supervisors need aren't individual composers with a couple of hundred tracks - they want 250,000 tracks and a brilliant search engine.



That's exactly right. They need big choices and there is a pecking order too. Just as in any walk of business, they get to trust certain names as time goes on.


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## Oliver_Codd (Jan 4, 2015)

I'm not sure I agree with the majority on this one. I think music supervisors are much more concerned with finding the right track for a particular project than where it's coming from, and will look anywhere from a huge catalog to a no name indie artist to find it.

It is possible to self publish and be successful as a boutique music library assuming you have something unique to offer, be it a particular sound, lower rates, production values etc. Look at Ninja tracks, Two Steps, Audiomachine. People are licensing from them because of what their music has to offer, not the size or sophistication of their catalog. 

Anyway, I wouldn't let anyone on VI discourage you from at least having a go at it! What's the worst that will happen?


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## MichaelL (Jan 4, 2015)

I agree with all of the above...to a degree.

The exception to "250,000 cue, brilliant search engine" model is personal relationships.

When you have a working relationship with a production company /editor/ music supervisor you can get your library in front of them.

And....in the real world (for better or worse), self-published writers often share publishing with TV production companies, which sometimes levels the playing field a little with larger libraries.


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## rJames (Jan 4, 2015)

If your music (speaking to anyone here not just sgilbers) compares favorably to Ninja tracks, Two Steps, Audiomachine; by all means, go direct.

Not only is their music quality but it is targeted and structured for its purpose etc

If you are publishing direct; have a target client(s) in mind and create music that will give them a solution.

Of course a music sup is just looking for a solution to their current need. But...

Your cue needs to arrive just as they need it (or they have to remember your music out of the unsolicited 20 new albums they get weekly), it needs to be put into a folder for the producer and editor and then it needs to work for the editor far enough into their edit that they decide not to try any of the other cues that are in a folder chosen by the music sup on this edit.

It helps to have a music supervisor of your own calling on the clients finding out what they need every day. (like the above mentioned, "small" companies.)


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## Daryl (Jan 6, 2015)

If you want to know the answer to your question, you don't have to do anything, except watch Breaking Bad. The library music business is no different, other than your competitors probably won't blow your head off for encroaching on their territory. :wink: 

Distribution is everything. If you market your music yourself, you will spend a large amount of time for relatively small gain. Even if your Crystal Meth is a far superior product, if you can only get it into the hands of a couple of dealers, you won't make much money.

Most of the Indie labels, even the large ones, use distributors, who take a large slice of the income, but (theoretically) do all the sales and marketing for you. If you are a big name in the library world, people will find your music anyway, but if you are small fry you need to persuade people to listen to your stuff, and being in good company with a distributor is one way to achieve that.

D


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## gsilbers (Jan 6, 2015)

interesting stuff. 

I do see the quantity issue on reality shows as they do need a whole bunch of vetted material. 

but how about broadcasters that need promos or even advertising agencies? 

ninja tracks and 2 steps from hell are indeed more specialized and nope, my music is not close to that.


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