# Music Library Newbie - a Few Questions



## Vin (Oct 13, 2015)

Hi guys,

I've been looking into getting my music with libraries so I created ~25 library tracks to start with (as Emmett Cooke advised in his book). I think I pretty much know the theory and I am ready to go, however, some things are not 100% clear to me.

1.) Re-titling: I understand the concept when libraries re-title your track in order to earn publishing royalties. What I wanted to ask is, since I want to start with a number of non-exclusive libraries - do I put the same name (for same tracks) in every library or unique name for the same track? For example, one library states this: 'Please 're-title' your tracks with a title(name) that is exclusive to the library - so that it only has that title on the library.'

2.) Since most libraries require .30 and .60 edits, should those be registered with your PRO inderpendently?

Thanks!


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## kclements (Oct 13, 2015)

If you're going to place the same cue in many different libraries ( a practice I'm not fond of), each one has to have a different title. I.e. Summer Wind in library A, The Winds of Summer in library B and Windy Summer in Library C...

Every library I work with does the PRO registrations. I would check with the library for their preference.

Cheers
kc


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## Vin (Oct 13, 2015)

kclements said:


> If you're going to place the same cue in many different libraries ( a practice I'm not fond of), each one has to have a different title. I.e. Summer Wind in library A, The Winds of Summer in library B and Windy Summer in Library C...
> 
> Every library I work with does the PRO registrations. I would check with the library for their preference.
> 
> ...



Thanks, Kayle.

Why aren't you fan of placing the same music into different (non-ex) libraries?

Also, do you then register the same cue under different names with PRO? Sorry if it's confusing, I know I am confused


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## sleepy hollow (Oct 13, 2015)

If I were in your situation I'd rethink your strategy, Vin. Actually it's not a strategy at all, it's more like a 'tactical approach' and it's probably not gonna get you anywhere - on the other hand, I don't know where you wanna go. 

Here's some food for thought: http://pmamusic.com/retitling/

Scroll down for the tl;dr - then go through the whole article. It's worth it.


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## kunst91 (Oct 13, 2015)

Vin said:


> Thanks, Kayle.
> 
> Why aren't you fan of placing the same music into different (non-ex) libraries?
> 
> Also, do you then register the same cue under different names with PRO? Sorry if it's confusing, I know I am confused



I'm also not a fan of placing the same track in multiple libraries. IMHO it dilutes the market, and some serious library composers actually think it's sleazy. I wouldn't go THAT far, as I understand the reasons behind it, but if I were you, especially since you're just starting out, I would just stick with the original track.

As for PRO, yes you should register each version (30s, 60s, 90s, etc.), and if you do decide to retitle you will need to register the retitled work separately (including alt versions).


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## Vin (Oct 13, 2015)

Thanks for all the responses, guys!

Probably a stupid question, but if you don't place the same tracks in several libraries, what's the point of being non-exclusive? I'd definitely like to start non-ex since I'm a beginner.


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## kclements (Oct 13, 2015)

Vin said:


> Thanks, Kayle.
> 
> Probably a stupid question, but if you don't place the same tracks in several libraries, what's the point of being non-exclusive? I'd definitely like to start non-ex since I'm a beginner.



There is a lot of discussion about this here on VI-Control and a number of other places. The PMA resource is a good one. I believe it does dilute the market with the same cue. To me, it is kind of like wanting to sign your record to multiple labels and have them all trying to sell the same album.

The idea behind NE libraries depends on who you ask. To me, I see it this way: NE libraries (I hate to say never), but pretty much never pay anything up front - so not a Work for Hire. If they are not going to pay me for the cue, I don't want to tie that cue up with them forever. I wan't to have it available if another great opportunity comes along. Unless they want to give me some $$ up front, they don't get exclusive rights to use it. 

The problem (again, my opinion) is that composers abuse this idea by putting the same cue in many libraries. I see it as taking advantage of the system - and a race to the bottom. It devalues the cue. Editors can get it anywhere, so when library X tries to get a Sync fee, the production company can ask why pay for a sync fee for this cue, when I can get the same cue in 14 other libraries. So Sync fees drop and overall rates go down. 

I know very active, very successful libraries that subscribe to the NE model. They get major network placements for their clients and have a very good business. They argue that they can't pay up front fees for tracks (It isn't their business model) and because they can't they don't restrict what composers do with their cues. I've had conversations with the owners of these catalogs - and they are very serious about placing songs. But I have also heard them say they would prefer composers not put their cues everywhere - but save them for possible great opportunities that may come outside of their catalog. 

I treat all my cues as exclusive - regardless of how each library treats them. I keep track, of course, of which ones are actually exclusive and which ones are not. Then, if an opportunity comes along where I can use the NE cues, I can decide to take it or not. 

I know a lot of people (some, friends of mine) disagree with this business model. And that's fine. It's how I have decided to do business after researching both sides and coming to my own conclusions. I would suggest you look at both sides and decide how you want to proceed. 

Cheers
kc


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## kclements (Oct 13, 2015)

kunst91 said:


> I'm also not a fan of placing the same track in multiple libraries. IMHO it dilutes the market, and some serious library composers actually think it's sleazy. I wouldn't go THAT far, as I understand the reasons behind it, but if I were you, especially since you're just starting out, I would just stick with the original track.



I wouldn't go Sleezy either, but I am pretty close to that opinion  It all depends too. If you place the same cue in 2 different libraries that service different clients - that may be ok. If Library X _only_ does film - never TV. And Library Y does _almost_ exclusively TV and Ads, hardly ever film - _maybe_ it's ok to place the same cue.

To me, it gets Sleezy when you place the same cue in 20 NE libraries all pitching to the same non-scripted shows, and then those same 20 cues in RF libraries, and those same 20 cues in countless other places...



> As for PRO, yes you should register each version (30s, 60s, 90s, etc.), and if you do decide to retitle you will need to register the retitled work separately (including alt versions).



I never register any of my cues. The libraries do all the registration.

Cheers
kc


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## Baron Greuner (Oct 13, 2015)

Vin, can't tell you anything until I've heard some of your tracks. That's not to say, it's some kind of bollocks 'this is my opinion' of your tracks. Not at all so don't worry. It's more to do with whom you might wish to consider as the purveyor of your type of music.


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## Daryl (Oct 13, 2015)

Exclusive or not is just a different business model. NE theoretically gives you more chance of getting your track placed, but there are also clients who won't deal with the NE libraries, so you lose out there.

Having said that, the high end libraries have been known to spend £30K or more on their exclusive content, so they have a totally different market anyway.

D


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## Valérie_D (Oct 13, 2015)

For my part, I am a beginner but I decided to go exclusive and never non-exclusive, for the reasons mentionned above and also because it's less of a time-conssuming process, uploading tracks everywhere, meta-data, etc. Also, so far, exclusive library seem to cherish my work a lot more if I can use that term, than non-exclusive. Gothic Storm has offered to mix my last album themsleves in their studio because they were super enthusiastic about it and they knew exactly the sound they were looking for.


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## Vin (Oct 13, 2015)

Guys, thank you for all your helpful info.



Baron Greuner said:


> Vin, can't tell you anything until I've heard some of your tracks. That's not to say, it's some kind of bollocks 'this is my opinion' of your tracks. Not at all so don't worry. It's more to do with whom you might wish to consider as the purveyor of your type of music.



I've been composing everything - from that (probably annoying) ukulele happy-clappy, corporate delay-guitars type cue to horror and underscore.

Here are few of my cues lately: https://app.box.com/s/2d4oxn86im4fzvvw33zo45zsl6ezpadh

Maybe I should go royalty free if they're too sh**ty, huh?


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## Vin (Oct 13, 2015)

Valérie_D said:


> For my part, I am a beginner but I decided to go exclusive and never non-exclusive, for the reasons mentionned above and also because it's less of a time-conssuming process, uploading tracks everywhere, meta-data, etc. Also, so far, exclusive library seem to cherish my work a lot more if I can use that term, than non-exclusive. Gothic Storm has offered to mix my last album themsleves in their studio because they were super enthusiastic about it and they knew exactly the sound they were looking for.



That's awesome, Valerie, congrats. I decided on starting with non-exclusive for starters because it was advised in Emmett Cooke's book and it makes sense to do so when don't have much stuff and credits yet to contact the big ones.


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## Baron Greuner (Oct 13, 2015)

I don't think they're shitty at all. I couldn't hear the last jazzy one. Something happened with the download.

The plus side is they are all pretty much a positive style and not morose or downbeat. The issue with a lot of tracks that get sent to libraries is many of them are very 'minor key'. Always easier to write a minor key piece than it is to write 'happy' upbeat tracks.
Your issue is going to be, imho, is there are also a lot of your style tracks on RF sites too. Thousands of them. Particularly the mute palm guitar type, which purely from a personal pov, drive me f**k**g nuts. :D

My advice for what it's worth, would be to get a bit more weight into your tracks and make them more your own particular style rather than being one of a very large crowd. IOW, give yourself a more of a chance to be unique.

There should be plenty of libraries out there that will want upbeat happy tracks. Much good fortune to you.


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## Vin (Oct 13, 2015)

Baron Greuner said:


> I don't think they're shitty at all. I couldn't hear the last jazzy one. Something happened with the download.
> 
> The plus side is they are all pretty much a positive style and not morose or downbeat. The issue with a lot of tracks that get sent to libraries is many of them are very 'minor key'. Always easier to write a minor key piece than it is to write 'happy' upbeat tracks.
> Your issue is going to be, imho, is there are also a lot of your style tracks on RF sites too. Thousands of them. Particularly the mute palm guitar type, which purely from a personal pov, drive me f**k**g nuts. :D
> ...



You can try now, I modified the folder so that's probably why.

Thanks!


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## Valérie_D (Oct 13, 2015)

Vin said:


> That's awesome, Valerie, congrats. I decided on starting with non-exclusive for starters because it was advised in Emmett Cooke's book and it makes sense to do so when don't have much stuff and credits yet to contact the big ones.



Hi Vin, yes I started with Emmet Cooke's book also but decided to go exclusive nonetheless. As far as credits go, I never landed a library album with credits in films or anything, I just submitted the same 2 excellent tracks to lots of exclusive libraries and some thought I was a good fit, some not. The concept of ''beginner'' does not exist to the publisher, they like your stuff, or they don't. The 5 seconds rules when listening to a track.


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## kunst91 (Oct 13, 2015)

kclements said:


> I never register any of my cues. The libraries do all the registration.
> 
> Cheers
> kc



Oh yeah libraries should do it for you. Was saying just in case


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## Baron Greuner (Oct 13, 2015)

Yeah great Vin. Always remember that 99% of the time a music editor will NEVER use your track as a whole. They cut it almost every time. So when writing bear that in mind. I have at this snapshot in time exactly 100 track detections on Tunesat over the last 4 days and every one is anything from 11 to 45 seconds.

Keep your tracks moving along and try to experiment with mixing in different time signatures and rhythms WITHOUT wildly disturbing the flow of the track. 5/4 with 4/4/. 6/8 with 4/4 and so on. Also, try and think in terms of albums and not a miss mash of tracks that have no definitive direction.

For example, I believe you're a big fan of Glass. Think of Glass and write a track. And then another one and so on until you have an album. I do that when writing a track. I think of New York for example and then write a track that tries to describe New York musically. It comes out different every time depending on your mood. Or I might think of a style that goes with certain presenters and the type of TV articles they usually cover. Ect.


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## mc_deli (Oct 13, 2015)

Baron Greuner said:


> Always easier to write a minor key piece than it is to write 'happy' upbeat tracks.



I thought it was just me!

Great thread. Gold here.


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