# Production Music Conference - September 12 - LA



## JoKern (Aug 29, 2014)

Hey everybody, 

is anybody going there? :D 
http://pmamusic.com/production-music-conference-2014/

Sounds like an epic day. Booked my ticket a while ago aldready. 

Hopefully see you there, 
Johannes


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## JohnG (Aug 29, 2014)

Hi JoKern,

I am glad you posted this -- two of my friends are on panels and I am happy to know about it.

Not planning on attending, but you never know.


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## videohelper (Sep 8, 2014)

I'm going. And since they asked me to moderate one of the sessions, I ended up with a few free passes if anybody finds themselves in LA and wants to go.*

Should be a great time. Good opportunity to network, learn and socialize with some of the big players in the business. **

There's a wide variety of subjects being covered, from an inside look at the trends in the trailer music market, to ideas for creative conceptualization, to trends in reality programming/licensing, to new ways of maximizing YouTube monetization, to an exhaustive exploration of musical rights/other things you should know before you sign any kind of contract. 

PM me on the site and I'll hand out my passes on a first-come-first-serve basis.

- Stew

* But you don't have to hang around with me. That would be creepy. No, you can go off and do your own thing. Pretend you don't know me if you want.

** The aforementioned big players do not include myself. I am not a big player. I am merely moderating for the big players.


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## germancomponist (Sep 8, 2014)

videohelper @ Tue Sep 09 said:


> ...and socialize with some of the big players in the business. **



Yeah, the big players are not composers, but the companies who benefit from them. 

Cool eh?


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## videohelper (Sep 8, 2014)

> Yeah, the big players are not composers, but the companies who benefit from them.
> 
> Cool eh?



Really? You're going to shut down on this because big companies are attending this event? Why? Are you thinking this is an elaborate plan to get all the LA composers into a room and brainwash them into them becoming their metaphorical catamites?

*First*: Big companies are going to be attending, but the *convention is being sponsored by the PMA, the Production Music Association, a non-profit company which is comprised of over 650 member libraries. * Not just large conglomerates -- but libraries of many sizes are represented, including many independents -- including mine. 

[Actually, one of the primary sponsors is *Harvest Media* -- who makes websites for many of the libraries, both big and small. Hardly a big company benefitting from the slave labor of composers.]

*Second*: Last I heard, composers got to decide who they wrote for. There's not impressment involved -- you're not suddenly kidnapped and forced to write Country and Western music. 

But by organizing events such as this one, *composers (not just publishers) can get together and share their opinions about companies they like and don't like*. I've noticed that people tend to be willing to talk much more candidly about unfair business practices and the companies that employ them in a face-to-face discussion. Especially when there's alcohol involved. This event offers people a chance to actually meet other people, network and maybe even help each other. 

And, if you find yourself being screwed over by a big company, maybe you could have avoided it. Don't know what differentiates a "work for hire" from a buy out? Or how to protect the works you've submitted? Then maybe you should be attending the "*COPYRIGHT ESSENTIALS: KNOW YOUR RIGHTS*" session. 

Or -- you could attend the "*MAKING THE DEAL: INDUSTRY AND LICENSING NORMS*" workshop later that afternoon and determine if the companies you're working with are employing a model that best suits your style of composing.

Or maybe your past couple of attempts at writing trailer music haven't garnered responses. Then, there's always the "*TRAILER MUSIC: NEW TRENDS/MODERN TECHNIQUES*" session and you might just be able to figure out what you need to do to get more work.

I could go on -- because I love a good rant -- but speaking as an owner of a library, I fully support the PMA. What they're doing is important. For example, as a group of 650 libraries, they have created a powerful voice and can get the attention of ASCAP, BMI and SESAC -- far better than a lone composer calling the member services line of any PRO. Try it calling yours -- maybe you'll even hear your works on the hold music.

But the main reason I support the PMA and am investing my time in traveling there (not to mention writing this long-winded crap) and moderating a session, it's in my best interest to educate composers. *Because the biggest problem in the production music industry is stupidity. *

Yes, big companies might be taking advantage of many composers out there. Do you know why? Because they can. Because most composers are frighteningly clueless about the deals they make and the damage their decisions result in. There are an astounding number of composers that choose to work for free, or sign away their performance rights, or unknowingly associate themselves with companies that are blacklisted by most of the major networks. There are composers willingly submitting their music for free to a company who contractually doesn't have to report sync income over $150 to its composers, so it then underhandedly charges its clients $149 per drop, eliminating the responsibility of channeling any payment to the composer.

And yes, these companies suck. But save your rancor for the people who deserve it. The PMA, (and by association, their annual conference) doesn't deserve your snarky derision because they are one of the few organizations that actually has a vested interest in educating its membership. 

Okay. Gunther -- I don't know you, but I'm reasonably sure you didn't expect this kind of response. And maybe you're saying what many people might be thinking -- but I have nothing to gain by defending the PMA. I don't get paid by them to moderate the panel, I don't receive a stipend from them and I most certainly can tell you that they don't ask me to publicly speak in their defense. Especially after I managed to use the phrase "metaphorical catamite" in a forum post.

But I think that if there's even a tiny chance that you're preventing someone from being an educated member of the community and/or tarring the good work that the PMA has done with a general and non-specific "_the man_ is keeping me down" comment, then I feel compelled to address and correct it.

Good luck in all your endeavors,

Stew Winter
CEO/composer/head legal liability
VideoHelper Inc


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## EastWest Lurker (Sep 9, 2014)

Stew is right, Don't criticize the guys who are there praying novenas for you as you sink under the water after helping you poke holes in the life raft.


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## videohelper (Sep 9, 2014)

[quote="Don't criticize the guys who are there praying novenas for you as you sink under the water after helping you poke holes in the life raft.[/quote]

And the winner for the most convoluted metaphor is..... [Actually, I still win from my previous post. You really should try harder.]

Jay -- you've been in the business a while. Why not be specific? If you've got rocks to throw, at least do something for the community and let us know who these "hole pokers" are and how, exactly, have they sunk you, personally? I honestly like to be aware of who I can trust as well. As Shakespeare said, "Despair it all be; there be nary an insufficiency of douchebags in the music business." 

And I think this goes for everyone: *If you get screwed by a company, say it.* I don't think it does anybody any good to say "I heard someone say that their friend had this happen to them," as that's hearsay and not really constructive. Want to actually help other composers? Then be specific about who employs these predatory practices.

But whining about general, wildly nonspecific ways these companies have wronged you is just tiresome and helps nobody.

- Stew


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## EastWest Lurker (Sep 9, 2014)

OK, fine. First of all, I have not done any production library work so nobody has screwed me. And I don't blame anyone for doing production work. If you need the money, you need the money or if you just want to write and need the outlet, you need the outlet and it is not my place to judge. And although I have not yet done so, I probably would do it myself in the right circumstances.

So I am certainly not calling anyone "evil".

But make no mistake about it: the day we composers started down that road we slit our own throats and those who are handing us the knife are handing us the knife.

Bottom line, it is IMHO not a situation to celebrate.


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## MichaelL (Sep 9, 2014)

I agree 100% with Stew. 

I've composed library music throughout my entire career (35+ years)...*not by default*. I actually LIKE composing production music. I admire writers of great library music like Donn Wilkerson and Daryl. 

True, there may big companies that are exploiting writers, but in my opinion, those are not the PMA member companies, but rather those aggregating, re-titlting and blanket licensing cues, often with little benefit to composers.

Before you put all "libraries" under one "evil" umbrella, you need to understand the nuances and differences of all the business models, especially the difference between traditional libraries and "licensing agents."

I went to a PMA meeting in NYC a few years ago. It was a very valuable experience. I would recommend attending the conference. I wish I could.

_Michael


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## Markus S (Sep 9, 2014)

Having worked with shady enough people, as well as Stew's company, I can say that anyone can largely benefit from his advice and experience, so I'm sure it's a great conference to attend to. It is good to know how it is SUPPOSED to work and I also agree that the composer is the composers worst enemy.

It is just crazy the type of deal you can get offered in this market like it is the most natural thing in the world.

Namely giving away exclusive rights to a company without upfront payment. So it's 100 % the composers risk if the company will or will not sell the music. I would personally never agree to such a deal, but the high quantity of offers I got of the exact same model let's me believe that there are quite a few composers accepting this.

An upfront payment shows you that the company is quite sure that it will make money with your music, that they have a real network, a real connection to the market with real income. It also shows some respect for your work, they want to work with you, they believe in the quality of your work, and they are ready to take a risk for you. In the opposite case - theoretically - since the library is not paying anything, they could just add up any amount of music composers until one of them sells, they win anyway, you (probably) lose.

But if you accept this type of offer the market goes down a little more each time, because if you do it for free, why should they pay the other guy? 

Just a thought, a subject worth discussing, IMO.


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## AC986 (Sep 9, 2014)

"Metaphorical catamites"

Gunther's not going to like that. :lol: 

" I'm reasonably sure you didn't expect this kind of response"

I'm f**king sure he didn't. :lol:

Do those free passes include food and drink and gambling chips etc?


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## MichaelL (Sep 9, 2014)

EastWest Lurker @ Tue Sep 09 said:


> OK, fine. First of all, I have not done any production library work so nobody has screwed me. And I don't blame anyone for doing production work. If you need the money, you need the money or if you just want to write and need the outlet, you need the outlet and it is not my place to judge.




But...you are, in fact, setting up a hierarchy. 

This discussion brings to mind the end of _The Devil Wears Prada _, when Meryl Streep says something along the lines of "Everyone wants to be me" and Anne Hathaway responds "no they don't."


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## videohelper (Sep 9, 2014)

Ooops. Any insults were completely unintentional. Craaaaaap.


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## EastWest Lurker (Sep 9, 2014)

MichaelL @ Tue Sep 09 said:


> EastWest Lurker @ Tue Sep 09 said:
> 
> 
> > OK, fine. First of all, I have not done any production library work so nobody has screwed me. And I don't blame anyone for doing production work. If you need the money, you need the money or if you just want to write and need the outlet, you need the outlet and it is not my place to judge.
> ...



OK, please allow me a final statement and then I am out. 

That is not my intention,. But the reality from my point of view is this:

Because of the easy availability/affordability of production libraries and the tools used to create the music, probably more "composers" than ever will make _some_ money.

But fewer musicians will be able to make a decent living composing and making music exclusively.

Because as a rule, people who do things full time get better than those who do it part time, quality will continue to decrease. (My subjective assessment, of course.)

Whether this is all a bad thing, a good thing, or a neutral thing, just a different model, is of course where many here will differ. We all come at it from our experience and no doubt mine is colored by that and unlike Michael I would only be interested in doing it "by default."

I certainly do not condemn others who see it differently, but for me, it is a race to the bottom artistically and financially.


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## AC986 (Sep 9, 2014)

It makes no odds Jay. These days most things are bottom up. Lowest common denominator generally is where the money.


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