# De Wolfe Music



## mkruse (Jul 21, 2019)

Has anybody on VI worked for De Wolfe Music? 

What are like to work for? Do they pay royalties or do they buy out the rights? Are they better to work for then Premium Beat?


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## Carles (Jul 28, 2019)

Not working for De Wolfe (I wish!) but I know a bit about them.
De Wolfe is a high end library. They did create the production music business itself, so they are obviously long time established.





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De Wolfe Music - Wikipedia







en.wikipedia.org





As far as I've heard they do pay the so called advances* but no idea if they do buy all sync rights, partially, or not at all.
In other high end similar libraries is quite usual to buy part of the sync (for instance 75/25 in their favor) which is not bad as the advances are substantial (*not advances despite how is called, but actually non re-coupable fees, so nice money in your hands independently on if they will place it or not) and you still have a 25% (plus a big chance of performance royalties as we are talking about top libraries) so I'd expect something similar from De Wolfe.
I'd not think twice if I could get in.

Premium Beat is another business scheme. It's like comparing apples with oranges.


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## mkruse (Jul 28, 2019)

Thank you. Do you know where i can learn more about sync? I need to learn more about the business side of things.


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## Kent (Jul 28, 2019)

is a good place to start


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## Carles (Jul 29, 2019)

The Composer's Guide to Library Music



Meanwhile, just a little explanation.

In the production music business, you can earn two type of royalties depending on the type of business and particular deal from every publisher.

Sync (synchronization fee)/mechanicals (AKA "upfront") and performance royalties (AKA "back end").

- Upfront fees are paid to you by your publisher (after they got paid by the client) usually in a bi-annual basis (but this can vary a lot from publisher to publisher)

- Back end is paid by your PRO (Performing Rights Organization) ASCAP, BMI, PRS, etc. typically in a quarterly basis (you have to be subscribed to any of these first. Your PRO and CAE/IPI number data has to be attached to your track in the moment of publishing so the money "can find the path to you").

But, not all the business schemes work the same way.

In a standard licensing scheme (for instance De Wolfe) you can get both type of royalties.
In a trailer music scheme (for instance Really Slow Motion) you get (usually high) sync fees only.
In a Royalty Free scheme (for instance PremiumBeat) you get (usually low) sync fees only.

"Royalty free" is an intentionally confusing term. For the client it implies that they pay a single (low) sync fee and they can use the music everywhere for as long as they wish.
That music still can make performance royalties if aired (thus the confusing thing), but the royalty free library don't care about. Their business is about selling affordable sync fees and that's it.

In any cases the client do not pay performance royalties but who broadcast the material does (typically TV stations) so the biggest advantage for a royalty free client is that the fees are usually very low no matter the usage, but sounds also great to their ears to reassure that there are no more payments involved.


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