# Submitting music to Extreme Music



## Valérie_D

Hi all,

Following the huge thread on libraries, I got interest in the past week from a couple of non-exclusive libraries.

I really think that Extreme Music, which is exclusive, might be a better fit for me since I compose slowly but bring quality to the table (So I've been told  )

I left an email to the Los Angeles adress recently and left a message this morning.

I was wondering if EM accept new composers and if some composers here have submitted music to them.

Do I have to waive my copyrights (no royalties) with EM?

You're warmly welcome for sharing tips or your experience with this library.


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## Cruciform

Hi Valerie,

I don't write for Extreme though I do write for other exclusives.

Typically, you sign over copyright unless it's an administration deal. If you do assign copyright, you still normally retain the writer's share of performance royalties. And the two most usual deals are that the copyright is bought from you for an upfront payment, or if you aren't bought out, you share in sync fees on a 50/50 basis.

If I understand correctly, I think Extreme are the best of both worlds in that they pay you an upfront but you also share in licensing fees. Hopefully, an Extreme writer will be able to answer you more accurately.

Rob.


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## Valérie_D

Thank You Rob, that was really helpful!


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## Arksun

I can confirm that Extreme can pay upfront non-recoupable fee (so not an advance) in addition to the license fees. As a writer you should always be entitled to at least 50% of the performance royalties. At least thats how it works in the UK with PRS, 50% is the minimum you can get. As for the mechanicals, well that depends on what deal you can get with them.

Best of luck!


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## Valérie_D

Thanks Arksun, that seems really great.

I really apologize for being a bit insistant with my "calling all composer who write for libraries" thread. 

It's just that it's a bit of a crossroad period for me : I decided about 10 days ago that I would build a catalog with new material full time for at least a year or two and I really am trying to make a wise decision since I have received great interest from non-exclusive libraries but have my sight on EM (I already called them ounce so stalking them is not an option :D )

Does anyone know if they do receive unsollicited music submission by email or by mail?

Anybody received a call from them several weeks after they submitted music to them?

Again....many thanks!


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## RiffWraith

Arksun @ Tue May 27 said:


> As a writer you should always be entitled to at least 50% of the performance royalties.



Yes - IMHO, you should always receive 100% of the writer's share - which technically is 50% of the performance royalties.


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## RiffWraith

Valérie_D @ Tue May 27 said:


> Does anyone know if they do receive unsollicited music submission by email or by mail?



They may, but it's always best to call first, and make contact by phone. "Hi - may I send you some of my material?"



Valérie_D @ Tue May 27 said:


> Anybody received a call from them several weeks after they submitted music to them?



Just an FYI - it may take the better part of a year for them to get back to you. Not saying it _will_ take that long, but with the *literally* tens of thousands of composers trying to get their tracks into libs, they are constantly being bombarded with submissions. Therefore, it may be a long time until you hear anything.

Which brings me to my next point - If you are going to submit tracks to them, they better not be mediocre tracks. Otherwise you have no shot. I say again - with the *literally* tens of thousands of composers trying to get their tracks into libs... like EM... your tracks have to be top-notch from both a compositional standpoint AND a production standpoint. If they aren't, you will quickly be rejected.

Good luck.


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## Valérie_D

Thanks Riff, I appreciate it!


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## GULL

Hi,
Few years back, I just sent an email as you did and I got reply asking for music for evaluation. I didn't receive a feedback though (Means I was not accepted :cry: )


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## Valérie_D

Thanks Gull, I will contact other libraries and see what sticks to the wall


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## doctornine

Well, there's no denying that Extreme are pretty much top of the pile… but there are other exclusives to try that are worth your time and effort.

Bottom line as ever is, if you have something they want, at the time they want it, you may have a shot.

~o)


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## gsilbers

yep. in short. extreme music will not accept you. straight up... wil not. 
but dont feel bad, there are other good libraries out there. 
ive talk to different editors and they do not like using popular libraries for their shows because the same music might be used on different shows and will make them look unoriginal.


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## AC986

gsilbers @ Tue May 27 said:


> yep. in short. extreme music will not accept you. straight up... wil not.



Don't understand. How do you know that?


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## Valérie_D

Funny you mention it, I just received a responce from Megatrax by email, about 2 minutes ago, which stated that they do not accept anymore submissions from anybody.


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## Daryl

Valérie_D @ Tue May 27 said:


> Funny you mention it, I just received a responce from them by email, about 2 minutes ago, which stated that they do not accept anymore submissions from anybody.


I have always thought that was a short sighted policy. If they had one month in the year where one persons job was to listen to music from "new" composers, they would probably have the best catalogue around, and it would stay that way. However, in a way agents fall into the same category. They don't really want to know until you already have work. Of course then you don't need an agent. :wink: 

D


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## Valérie_D

Well let's say, since I threw my little glass bottle with my music
neatly folded in it at EM, that I forget about it for now.

I have about 50 tracks in my catalogue, not much but it's a start. 

I looked at every Exclusive Libraries and read the comments on Music Library Reports.

With the libraries that propose a 5 years contract, lots of composers express their disapointment for lack of placement but mainly lack of communication; email or phone calls remain unanswered to.

For my part, I though that placing the little tracks I have in a great exclusive Library could be great but the ''Perpetuity'' clause that seems to appear often makes me a bit reluctant to put all my eggs in the same basket.

On the other hand, non-exclusive libraries like Jingle Punks (which now offers the 2 options) seems ok too.

Anyone works with an approachable exclusive Library which got them placements?

MANY. THANKS. :D


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## gsilbers

adriancook @ Tue May 27 said:


> gsilbers @ Tue May 27 said:
> 
> 
> 
> yep. in short. extreme music will not accept you. straight up... wil not.
> 
> 
> 
> 
> Don't understand. How do you know that?
Click to expand...


LA is small place


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## gsilbers

Daryl @ Tue May 27 said:


> Valérie_D @ Tue May 27 said:
> 
> 
> 
> Funny you mention it, I just received a responce from them by email, about 2 minutes ago, which stated that they do not accept anymore submissions from anybody.
> 
> 
> 
> I have always thought that was a short sighted policy. If they had one month in the year where one persons job was to listen to music from "new" composers, they would probably have the best catalogue around, and it would stay that way. However, in a way agents fall into the same category. They don't really want to know until you already have work. Of course then you don't need an agent. :wink:
> 
> D
Click to expand...


thats what they did like 15 years ago :mrgreen: 
they have another strategy now. 

but true, they could just open up a different library for lower budget stuff.


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## Daryl

gsilbers @ Tue May 27 said:


> ....but true, they could just open up a different library for lower budget stuff.


It doesn't even have to be about budgets. If I was running a library company, I wouldn't accept anything sent to me, except as examples of what the composer can do. I would brief properly and be in control of production, so as long as the composer was good, and had a good producer (or even mentor, if they were really inexperienced) the product would be good. After all, when it comes to library music, most clients don't care who wrote it. Actually most don't even care enough to ask. :wink: 

D


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## gsilbers

Valérie_D @ Tue May 27 said:


> Well let's say, since I threw my little glass bottle with my music
> neatly folded in it at EM, that I forget about it for now.
> 
> I have about 50 tracks in my catalogue, not much but it's a start.
> 
> I looked at every Exclusive Libraries and read the comments on Music Library Reports.
> 
> With the libraries that propose a 5 years contract, lots of composers express their disapointment for lack of placement but mainly lack of communication; email or phone calls remain unanswered to.
> 
> For my part, I though that placing the little tracks I have in a great exclusive Library could be great but the ''Perpetuity'' clause that seems to appear often makes me a bit reluctant to put all my eggs in the same basket.
> 
> On the other hand, non-exclusive libraries like Jingle Punks (which now offers the 2 options) seems ok too.
> 
> Anyone works with an approachable exclusive Library which got them placements?
> 
> MANY. THANKS. :D



its all about relashionships and building them. maybe someone here will give you some ins on some companies. or you build your own. with companies. 

you can also try the old skool way. try warner / bmg / universal / and those companies that now are all into music libraries and movie placements.

also, i wouldnt get too attached to the songs you have and keep making more. 
doesnt mean give it for free or anything. but keep making more. it takes a while for music library to add up.


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## doctornine

Valérie_D @ Tue May 27 said:


> I have about 50 tracks in my catalogue, not much but it's a start.



Indeed, good start. But I agree with what others have said, place them with a library, write more. Repeat, repeat and keep repeating.

Everyone has an opinion on non-exclusive vs exclusive. For me it's pretty simple, probably about 98% of my income is via exclusive libraries, and the remaining 2% or so is from non-exclusive. 
Easy math


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## rJames

Unluckily, I have no first hand knowledge... but I hear it is by invitation only.

If your music is crazy great, licensable, and the cats meow, they'll find you.

Valérie_D, have you posted here? Do you have a sound cloud acct? No doubt, there are some Extreme-ly talented composers here who could put your material into the right hands, if it was what they want.

Ron


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## gsilbers

doctornine @ Tue May 27 said:


> Valérie_D @ Tue May 27 said:
> 
> 
> 
> I have about 50 tracks in my catalogue, not much but it's a start.
> 
> 
> 
> 
> Indeed, good start. But I agree with what others have said, place them with a library, write more. Repeat, repeat and keep repeating.
> 
> Everyone has an opinion on non-exclusive vs exclusive. For me it's pretty simple, probably about 98% of my income is via exclusive libraries, and the remaining 2% or so is from non-exclusive.
> Easy math
Click to expand...


true. well, not sure if the same but i only write for one or two libraries and keep a track to each. so no retitling. 
it has been a great advantage because sometimes the network will want to buy the publishing of the track so it cannot be on different libraries spread out or composers do not want to have it exclusive so those tracks get dropped and news ones (from me!!) will get chosen . 
i just feel non exclusive is weird. i guess others feel differently. not sure the right answer for this one.


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## Valérie_D

rJames @ Tue May 27 said:


> Valérie_D, have you posted here? Do you have a sound cloud acct? No doubt, there are some Extreme-ly talented composers here who could put your material into the right hands, if it was what they want.



Hi Ron, yes I have posted before and my soundcloud is on my website but here it is :

https://soundcloud.com/val-rie-delaney

I have one orchestral piece on it, I invested in a small orchestra (11 pieces) fo this one and am happy with the result, the rest is mostly piano pieces composed with the Ivory American D Concert..as I mentionned, it's a start but some of these pieces have been used in short films.


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## lux

Valerie,

I think the inner nature of the material you're going to submit makes a difference and influences the moves you have at your disposal. If the music submitted is somehow similar to what I've heard in your Soundcloud playlist I'd say it has a definite identity and influences, and I personally enjoyed the listening.

I'd not suggest submitting it to US based libraries, which may have difficulties in the placement of such material, and would focus on european ones. French, Germany, UK, Holland and so on. 

I have also the feeling that your material could be marketed in a CD-like form, listened just an handful of tracks, but it sounds like you have your own root in composing music, and have an instinctive writing appeal. A good move could be releasing an hybrid between a CD (or digital) release and a library submission, packing together the tracks as you would do with a record, givin them a good creative and understandable label while submitting the material, so to offer a possible hint to the library owners. Busy people they are, and they get an unmanageable amount of submissions, which makes things tiresome for even the most motivated reviewer. Offering a more definite package could give you a chance, so that the library owner could happen to decide to cover a specific area with just your release.

Also name a couple of artists which your music could be associated as a general style/sense.

In other words, explain your uniqueness (unique is not always equal to easy to market in library realm) help the library owners to like and understand your submission, save them time and suggest them ideas.

Oh, and I would personally avoid big bespoke libraries on your first approach, it could end as frustrating and giving you the wrong impression that your music is not viable. Also listen carefully to the music they have in their catalogue. 

Just free thoughts of course
Luca


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## Valérie_D

Lux..your advices are awsome, thank you!

I was thinking about approaching Soundscape Media which is based in Toronto, I will look for libraries in Europe as well, anyone having an experience to share with Soundscape Media is very welcome, narrowing it down :D


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## AC986

You need to be able to copy a style, while at the same time not actually copy other writers tracks because library owners don't want to get sued.

Get about 12 to 16 tracks in the same style together as in an album format. Style could be almost any genre but the best way is to listen to what's going on via the tv. Eg documentaries etc.


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## Valérie_D

Yes, I just spoke with the owner of Soundscape Media over the phone and he asked me in what style I composed music, I said mostly piano pieces with an ''Amelie'' vibe.

He told me he was in great need of this style of music since their catalog did not have much so far.......looks like I'm on to something :D


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## AC986

Valérie_D @ Tue May 27 said:


> Yes, I just spoke with the owner of Soundscape Media over the phone and he asked me in what style I composed music, I said mostly piano pieces with an ''Amelie'' vibe.
> 
> He told me he was in great need of this style of music since their catalog did not have much so far.......looks like I'm on to something :D



Yes Valerie, that figures. I'm always getting asked to do piano music from my gents at the library I work with. But I get bored just doing solo piano and always wind up mixing in other things. But if they tell you they want solo piano in a certain style, do exactly what they ask.


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## Valérie_D

adriancook @ Tue May 27 said:


> But if they tell you they want solo piano in a certain style, do exactly what they ask.



Well for now..you bet I will


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## Valérie_D

Turned out, I have received 2 requests for complete piano album from 2 exclusives libraries...looks like piano solos are more in demands than I realised, thanks again everyone for chiming in!


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## Arksun

Valérie_D @ Wed May 28 said:


> Turned out, I have received 2 requests for complete piano album from 2 exclusives libraries...looks like piano solos are more in demands than I realised, thanks again everyone for chiming in!



There ya go! Very well done


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## gsilbers

Valérie_D @ Wed May 28 said:


> Turned out, I have received 2 requests for complete piano album from 2 exclusives libraries...looks like piano solos are more in demands than I realised, thanks again everyone for chiming in!


cool. 

btw- if you can, try making one or two tracks a day. or practice to do so at least.


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## AC986

Yeah well done Valerie. How do you feel about it now?


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## clarkus

Just reading through this thread, and being at a similar juncture to Valerie (figuring out what music houses make sense to go to), I am appreciating all over again this Forum!


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## Valérie_D

adriancook @ Wed May 28 said:


> Yeah well done Valerie. How do you feel about it now?



(post edited)

I feel great, already working on my album!

Wow, I did not expect this thread to be that long, it's for the best if it can help out other composers looking for great libraries.


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## Valérie_D

Valérie_D @ Tue May 27 said:


> Funny you mention it, I just received a responce from them by email, about 2 minutes ago, which stated that they do not accept anymore submissions from anybody.



*I read the last comment a little too fast the other day : Megatrax sent me an email saying they did not accept anymore composers, not Extreme Music.


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## Valérie_D

Just a little follow-up,

I finally got hold of someone at EM in Los Angeles, 

I though the conversation was funny :

- Extreme Music, hello.

- Hi, I'm a composer and I wanted to know if you accepted music submissions.

- No.

- ..In the whole world?

- In the whole world.

-...ok thanks! Have a great day!


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## guitarman1960

Jeeez, that's a bit brutal to say the least, but they are probably sick of getting asked that question. Doesn't hurt them to be friendly though!

I'm also looking for libraries to submit to in a few months when I've got my tracks just how I want them. Some state clearly on the website that they aren't accepting submissions at the moment, so it's not worth bothering with them. Others usually have something on the website contact page which states they are looking for composers and have submission guidelines.


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## Stephen Rees

Valérie_D @ Tue Jul 08 said:


> Just a little follow-up,
> 
> I finally got hold of someone at EM in Los Angeles,
> 
> I though the conversation was funny :
> 
> - Extreme Music, hello.
> 
> - Hi, I'm a composer and I wanted to know if you accepted music submissions.
> 
> - No.
> 
> - ..In the whole world?
> 
> - In the whole world.
> 
> -...ok thanks! Have a great day!



Don't be downhearted. There are lots of great libraries out there (including Extreme) and it is just a case of finding the right one(s) for you and your music.

The best reaction to this is to write something so good it can't be ignored, then approach some other libraries


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## Daryl

Of course this is just the same way most agents behave. They won't give you the time of day until you are successful (whatever that means), then they will do their best to poach you...!

So the answer is either to find a personal contact who can introduce you, or work for another company that's not so far up its own arse. :shock: 

D


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## Valérie_D

Well maybe they just commission their music to already super successful composers (not necessarilly better but successful  ) or that you need to know someone, I don't know,

The person on the phone had a friendly tone, but it was brutal.

I just found it funny, the answer was really like " On the whole globe..the whole planet....for-e-v-eeeeeer."


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## Cruciform

Extrapolating from a sample of one (someone I know who writes for them), you may need to be connected/introduced to get in there.

Rob.


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## Uncle Peter

Valérie_D @ Tue Jul 08 said:


> Well maybe they just commission their music to already super successful composers (not necessarilly better but successful  ) or that you need to know someone, I don't know,
> 
> The person on the phone had a friendly tone, but it was brutal.
> 
> I just found it funny, the answer was really like " On the whole globe..the whole planet....for-e-v-eeeeeer."



Come on Valerie - up the game here. Send them some shit hot music that they can't refuse. 10 tracks of top notch stuff - give them a concept (Peruvian nose flute Grime Bad Ass dub chant) - do it better than what they have - sell yourself - sell your product. Let them imagine the tracks on their fancy site with some cool artwork. 

Get an in - find out who works there - make it personal and send in the shizzle. Don't get oneitis about Extreme either - there are others too so just tap them all up.


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## gsilbers

Valérie_D @ Tue Jul 08 said:


> Well maybe they just commission their music to already super successful composers (not necessarilly better but successful  ) or that you need to know someone, I don't know,
> 
> The person on the phone had a friendly tone, but it was brutal.
> 
> I just found it funny, the answer was really like " On the whole globe..the whole planet....for-e-v-eeeeeer."



you know their offices are at remote control. right? 
guess who also submitts music to them =)


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## gsilbers

a general thought... and mostly my opinion..
but check out were there is placements. its usually reality shows. 
listen to those shows that sound like your music and do something that yuou think is better. 
but the key is to check the structure, mostly on the players of other libraries. 
its follows a trailer structure - meaning there are 2 or 3 different parts which grow in intensity. that way the editor can chop up something themselves if they need.


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## Peter Costa

I know LA might be a little far from where you are, but there's gotta be conferences in Europe somewhere. You'll eventually meet somewhere you're supposed to meet. 

Production Music Association 2014 conference is coming up in September. Relationships are one of the biggest things in having a successful library music career. The only work I've gotten is probably because Jupiter, Saturn & Mars were aligned. haha :roll: 

www.pmamusic.com

Good luck!


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## Valérie_D

@ Uncle Peter : Yes I did pursue my research and found some other interesting libraries, I will certainly create some awsome (Let's be positive here) tracks and try them again with EM, you never know, and with other libraries as well, thanks for the pep talk!

@ gsilbers : Thanks for your advices, and about EM offices...come on, can't one thrive?! Besides, if I wanted your opinion, I would have asked fo..(sorry I couldn't help myself :D )

@ Peter Costa : Thanks for your advice and encouragment! Yes going to a conference and network will probably help a lot.


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## Dor F.

Hello guys i’m joining to Valerie topic.
How I can submitting music to MegaTrax for example?
I have 1 album of Epic Cinametic Orchestral music, and I had in that album a mediator at that time , a composer I worked for him to create this album.
And I asked lately a guy that work as a soundman at MegaTrax house of production, and he told me that for creating more albums for MegaTrax, I need to meet with the big boss.
Is it true? And if it’s true ,how can I submit my future album to this library without seeing the big boss? I’m 7,000 miles from L.A ,
And they wrote very clearly:
“ Megatrax does not accept unsolicited materials. Please do not send anything as it will not be reviewed or returned. Thank you for your understanding”.

Dose someone knows how to get a solicited music album from MegaTrax?

Thanks from advanced,
Dor F.- composer


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## Fab

interesting, because it's such an old thread, perhaps Valerie (if just to hear how she got on) and others who gave some comments have new info/opinions etc. Personally I think if it was saturated 4 years ago, then today...its like 4 decapitators level of saturation more


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## Desire Inspires

Just keep writing stuff and get it out there. Don’t worry about those music libraries who don’t accept music. Work with the ones that do and submit awesome music.

I just heard one of my Trap beats used in a German TV show about robots. Never thought a song like that would be in such a program, but you gotta take a chance and push, push, push your music to companies that want to do business!

https://www.srf.ch/sendungen/einstein/einstein-bei-den-robotern

Time: from 8:19 to 8:41 and at a few other spots.


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## muk

Desire Inspires said:


> I just heard one of my Trap beats used in a German TV show about robots.



Hey, that's a swiss tv show. Interesting that you landed this placement, as this tv station has their own in-house music library.

About Extreme Music: if they write that they don't accept unsolicited submissions, don't submit. As @Desire Inspires wrote do your research - find music libraries where your album would fit and that do accept submissions. Don't narrow it down to just one library or you'll be missing out on other opportunities.


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## Desire Inspires

muk said:


> Hey, that's a swiss tv show. Interesting that you landed this placement, as this tv station has their own in-house music library.



Oh cool!


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## Uncle Peter

Many years ago I wrote my first ever 'filmic' bit of music. I reached for all the presets in Reason - Orkesta violins swimming in the 'Filmscore' reverb on the RV7000. . I naively sent it to Extreme along with some other first efforts. They actually ummed and ahhed over the Reason filmic first attempt ... quite impressive really.. but inevitably told me to f-off in the end. They did miss out on an album I sent round later though... honest


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## raj music

Valérie_D said:


> Hi Ron, yes I have posted before and my soundcloud is on my website but here it is :
> 
> https://soundcloud.com/val-rie-delaney
> 
> I have one orchestral piece on it, I invested in a small orchestra (11 pieces) fo this one and am happy with the result, the rest is mostly piano pieces composed with the Ivory American D Concert..as I mentionned, it's a start but some of these pieces have been used in short films.



Hi is soundscape good nowadays ?


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