# 50/50 split deal libraries



## vlado hudec (Apr 18, 2008)

Hi guys,

I am in contact with some music libraries,which don't pay upfront,but money goes 50/50.

Have you any experiences with this type of paying?

I must say,I have some doubts. My question is: How could I control a usage /placement/ of my tracks in this case? f.e. company sell my track for $100,so $50 would be mine. But may it be,that company concreal me the selling of my track and don't pay me the money? Is this possible?

So is there any possibility of control a usage?

Thanks

Vlado


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## rJames (Apr 19, 2008)

What's the name of the company?


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## JohnG (Apr 19, 2008)

The huge majority of my work has been done as "work for hire," so I don't have the rights to it. Most of the material that I own is doing nothing. 

I have done a bit of work for Immediate Music. I trust those guys 100%.


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## Thonex (Apr 19, 2008)

vlado hudec @ Sat Apr 19 said:


> rJames @ Sat Apr 19 said:
> 
> 
> > What's the name of the company?
> ...



Opus1... that's not a ringing endorsement. This company is owned by Alan Et and well... let's just say he doesn't have the reputaion of being equitable and leave it at that.

The dirty little secret about music libraries is they split the residuals 50/50 but they'll keep 100% of the license fee... and a lot of these deals are blanket license deals that pay crap back-end. So... the composer is getting almost nothing while the library owner is getting hefty licensing fees. 

Now.... if they are sharing the licensing fees 50/50... then yeah... jump on board... but I highly doubt it.

Cheers,

T


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## Daryl (Apr 20, 2008)

Thonex @ Sat Apr 19 said:


> The dirty little secret about music libraries is they split the residuals 50/50 but they'll keep 100% of the license fee... and a lot of these deals are blanket license deals that pay crap back-end. So... the composer is getting almost nothing while the library owner is getting hefty licensing fees.
> 
> Now.... if they are sharing the licensing fees 50/50... then yeah... jump on board... but I highly doubt it.
> 
> ...


I get 50% of both PRS and licence fee. I work for KPM (EMI).

D


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## nomogo (Apr 20, 2008)

There are several Trailer Music Libraries that split this way, 50% of the combined Sync and Master License. On top of that you get all of the writers and typically they own the publishing (there are some libraries that are non-exclusive, but not most). In Trailers royalties are almost non-existent, so this is why its a split of the license fees and not residuals.

This is different than many 'needle-drop' libraries, that focus on a broader range of material and uses ('production music' as opposed to 'trailer music'). There are many of these that will pay you up front for doing a whole CD's worth of material, but not much in the back-end besides writers royalties.

The 'needle-drop' libraries charge a fraction of what trailer music libraries charge, however they tend to have much larger catalogues and distribution.

Basically just be smart when it comes to signing the contract, and don't be afraid to ask for what you feel is a good deal for you. I've seen several splits go 60/40 or other incentives/limitations thrown into the deal, such as a reversion after 3 years etc.


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## Thonex (Apr 20, 2008)

ETM Dude @ Sun Apr 20 said:


> I've seen several splits go 60/40 or other incentives/limitations thrown into the deal, such as a reversion after 3 years etc.



Reversion clauses are key in many cases. Good advice.


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