# Working With Multiple Trailer Libraries



## BenG (Jul 12, 2018)

How common is it to work with multiple libraries?

Just finished my first ever trailer album with a well-known company and was wondering if I can/should be looking to reach out to other companies as well. Anyone advice would be great!


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## jfino (Jul 12, 2018)

I know a lot of composers that have their music on several libraries so its quite common. 

Sometimes the style you want to work on a new album doesn't fit well with a particular company, so it makes sense to work with several libraries.


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## karelpsota (Jul 12, 2018)

Some of the top guys have deals where they are exclusive to one company. But that's really rare, and you shouldn't aim for that. It's financially stable but it blocks others opportunities. (My roommate is in that situation).

If I were you, I would do different tracks (not albums) for different trailer publishers and see what works for you. Note that trailer publishers want exclusive tracks for their catalog. So you will need to write new tracks for each new publisher.

Also, some of the smallest trailer companies can do a better job than the top ones. Smaller catalog, better human interaction etc...

Look at http://www.cavalry-music.com/ (Cavalry). These guys are killing it.


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## BenG (Jul 12, 2018)

Thanks for the advice @jfino and @karelpsota, really appreciate it!

Wasn't sure if working with multiple companies was considered a 'no, no' and will surely reach out to others soon. With that in mind though, should I be mentioning this to the company I currently work for to give them a heads up? I have built-up a great relationship with them and would hate to sour it. 

Also, good point about smaller libraries! It is difficult to find production houses looking for my style (Orchestral, Family/Adventure, etc.) so will definitely try and find some new ones to check out. Very interesting to hear about Cavalry as well; they do seem to be doing quite well!


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## Desire Inspires (Jul 12, 2018)

BenG said:


> Wasn't sure if working with multiple companies was considered a 'no, no' and will surely reach out to others soon.
> With that in mind though, should I be mentioning this to the company I currently work for to give them a heads up? I have built-up a great relationship with them and would hate to sour it.



Hell no!

Why would they need to know that? The trailer library doesnt work with one composer, so you shouldn’t be any under obligation either.


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## StevenMcDonald (Jul 12, 2018)

I believe it's pretty much understood that 99% of trailer composers will work with multiple publishers. As long as you aren't ripping yourself off across different pubs you're good. I've only talked with one library that wanted full exclusivity. You kinda need to try out different ones anyway to get a feel for which ones work best for you as far as communication, genres, workflow, and placements.

As long as you give each publisher great tracks that are your best work and exclusive to them, you're good!


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## BenG (Jul 13, 2018)

Fair points all around! 
@Wolfie2112, in my expereince you are correct and they are all looking for exclusive deals.


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## dannymc (Jul 15, 2018)

its a tough decision. imo it comes down to the individual. you could decide there are 2 or 3 you always wanted to work for and aim for those or you could spread your tracks across all the industry and see which labels start to work for your style. one thing i'll say though is don't bother with labels that dont get placements. sure, you might get published but whats the point if your tracks will just sit gathering dust never getting placed. its easy to find out those labels that are real players in the industry by keeping on eye on social media mainly their fb pages.

p.s. i'm exclusive to one major trailer label which suits my current situation right now. 

Danny


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## will_m (Jul 16, 2018)

Just out of interest, what are the benefits to the composer of writing exclusively for a trailer label?


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## Desire Inspires (Jul 16, 2018)

will_m said:


> Just out of interest, what are the benefits to the composer of writing exclusively for a trailer label?



When we say “exclusive”, we mean that the composer only makes trailer music for that one company, correct?

The only way it would make sense is if the composer owned a trailer label or was a paid employee of a trailer label. Otherwise, it makes sense for the composer to work with as many good trailer labels as possible. It’s really about getting money at the end of the day.


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## will_m (Jul 16, 2018)

Desire Inspires said:


> When we say “exclusive”, we mean that the composer only makes trailer music for that one company, correct?



Correct. I know that some composers work this way, just wondering what the benefits are. I can see how it would benefit the trailer library.


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## Glenn Broersma (Jul 16, 2018)

will_m said:


> Correct. I know that some composers work this way, just wondering what the benefits are. I can see how it would benefit the trailer library.



I have been told. When you work exclusive a benefit can be that you get paid upfront. I have read a view known trailer composers only do exclusive If they get paid upfront.


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## will_m (Jul 16, 2018)

Glenn Broersma said:


> I have been told. When you work exclusive a benefit can be that you get paid upfront. I have read a view known trailer composers only do exclusive If they get paid upfront.



Do you mean an advance? You can get an advance for non-exclusive too, payed on delivery of the masters or half upfront and half on delivery.


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## SillyMidOn (Jul 16, 2018)

will_m said:


> Do you mean an advance? You can get an advance for non-exclusive too, payed on delivery of the masters or half upfront and half on delivery.


You can get an advance for non-exclusive, that is correct, but a much bigger one for working exclusively.



BenG said:


> How common is it to work with multiple libraries?
> 
> Just finished my first ever trailer album with a well-known company and was wondering if I can/should be looking to reach out to other companies as well. Anyone advice would be great!



Well, library owners can behave like little tin gods at times. Some are cool with you placing tracks elsewhere, but more than you think absolutely hate to see you doing well elsewhere as well. It all comes down to human insecurities. Seriously, I have seen the most childish behaviour at times, it boggles the mind.

You said your main thing is family/adventure. That style will always be in demand, however there is little demand for it, in that a lot of trailer libraries don't even bother with that style, and the ones that do, have an album or two, and then they've got what they need. It's very similar to jazz albums with non-trailer libraries, once they've got a few good albums under their belt, they don't need more. 

So with that in mind you would need to work for other libraries, if that's the only trailer style you'll be doing. If you are going to cross over to other trailer styles, the

Piano Piiiiiiing, Braaaam, Hit, Sutttt-t-t-ter rrriiiSSSEEE HIT etc style, Bish Bash Bosh, is harder to get right production-wise than you might think, even if it is undoubtedly musically obtuse most of the time.

Not sure any of what I have written helps, but life is never cut-and-dried, is it?


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## brenneisen (Jul 16, 2018)

SillyMidOn said:


> (...) Piano Piiiiiiing, Braaaam, Hit, Sutttt-t-t-ter rrriiiSSSEEE HIT etc style, Bish Bash Bosh (...)



so accurate


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## BenG (Jul 16, 2018)

SillyMidOn said:


> You can get an advance for non-exclusive, that is correct, but a much bigger one for working exclusively.
> 
> 
> 
> ...



Very helpful! You are absolutely correct concerning the style's need and these types of albums are few and far between. (Which could be a good thing!)


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## BenG (Jul 16, 2018)

Glenn Broersma said:


> I have been told. When you work exclusive a benefit can be that you get paid upfront. I have read a view known trailer composers only do exclusive If they get paid upfront.



As @SillyMidOn mentionned, you can get paid upfront for non-exclusive deals as wel.


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## BenG (Jul 16, 2018)

dannymc said:


> ...you could decide there are 2 or 3 you always wanted to work for and aim for those...



Exactly my thinking here. I hope to be reaching out to companies that I have always wanted to work with and go from there.


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## JohnG (Jul 16, 2018)

If you are new at this, there may be some marginal benefit to working with one trailer library only. For one thing, you might not want to spend all your time writing trailer music (I certainly don't) and so one company might offer enough scope to scratch that itch.

Unless You're an Employee...

But it is bonkers to pledge allegiance to a company without something in return. Unless they are promising, say, a certain number of recordings each year, or for some specified period of time, or -- something -- why should you tie yourself to them? That's an employee-employer relationship, which makes sense if you get a salary and benefits and a place to work and equipment (as employees typically do). But if nothing is on the table from their side, you don't owe them the allegiance of an employee.

Track Exclusivity

Completely separate from the notion of "sole allegiance by the composer to a particular library," is the question of "exclusivity for a particular track." I have never and would never try to place the same track to more than one trailer library because the ones I'd like to work with would not like it and, I expect, would drop me like a hot rock if I tried that. Besides, the paperwork typically names them as the publisher or sub-publisher, with sole rights to license the track so that already eliminates the possibility of selling the same tracks to another company. For clarity, by "try to place" I really mean "actually place without informing them;" I'm not suggesting that you can't go to a different trailer music house if the first one turns your track down.

There are some libraries out there that will tolerate this but I've never worked with any of those.


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## Glenn Broersma (Jul 16, 2018)

BenG said:


> As @SillyMidOn mentionned, you can get paid upfront for non-exclusive deals as wel.



Then you can ask yourself: why work exclusive?  (Bigger payment, Guaranteed placement?)


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## dannymc (Jul 16, 2018)

JohnG said:


> If you are new at this, there may be some marginal benefit to working with one trailer library only. For one thing, you might not want to spend all your time writing trailer music (I certainly don't) and so one company might offer enough scope to scratch that itch.
> 
> Unless You're an Employee...
> 
> ...



i hear you John. i guess the closest thing in everyday industry this working exclusively to one label, would be in doing an internship at a legal firm. in Ireland there is a thing called deviling where the intern literally works for free to learn all the ropes of the trade and develop your skills in a top legal firm working along qualified lawyers. so if the trailer library is looking for exclusivity they should be given something in return i.e. in the form of proper training and mentoring that will actually result in you getting your tracks placed.

there are far too many labels out there who will take every half decent track that is thrown at them but has very little chance of being placed because it simply doesn't follow the trailer structure correctly. yes its nice for the Ego for the music sup to say "great track" for everything you send them but in the long run we are all in this game to get placements so if the label is not maximizing that aspect for their composers then you might aswell just be dumping your tracks in any and all publishers and just hoping for the best. yes it is a quality and quantity game but some are focusing too much on quantity without properly taking a critical look at their quality.

lastly for someone like me who only does music as a side gig, working with more than one trailer label at a time would be counter productive as i just wouldn't have time to keep writing for multiple briefs. this is why i say be very selective and critical on which publisher or publishers you decide to work with.

Danny


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## SillyMidOn (Jul 16, 2018)

Glenn Broersma said:


> Then you can ask yourself: why work exclusive?  (Bigger payment, Guaranteed placement?)


Indeed... generally the idea is you get a bigger advance, but no-one can guarantee you placements, no-one, but your music is likely to get pitched more. But because there are no guarantees that you will get placements, there is a chance you won't make the placements to "earn" the advance, so you could end up in the red. In theory. Practically speaking you won't be given an advance that the library isn't likely to earn back, they'd be sure to calculate that carefully.

So I guess if you are starting out in the industry, a time-limited exclusive contract, that gives you financial stability for some time, plus placements (kudos!) and lets you learn the ropes and deepen your understanding and gets you used to really tight deadlines (important skill to learn), could be tempting. 

If you are already established it's really not that interesting.


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