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Forums Film Scoring Business Libraries

This topic contains 3 replies, has 3 voices, and was last updated by Profile photo of Tyler J. Wilkins Tyler J. Wilkins 8 months, 3 weeks ago.

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  • #2882
    Profile photo of Eric Lein
    Eric Lein
    • Topics: 3
    • Replies: 5

    Full Access

    I thought I’d start a topic about joining and submitting to libraries. My biggest question is, exclusive or non exclusive, and pros and cons of each?

    I’d love to hear people’s thoughts, as well as start talking about anything else regarding music libraries.

  • #2924
    Profile photo of Evan Evans
    Evan Evans
    • Topics: 31
    • Replies: 110

    This is a very important topic. Absolutely. It’s great to open this up for discussion.

    You always want to get the same deal but have it be non-exclusive. But that’s not always the case. Obviously the reason to be non-exclusive, is so you can give the track to other libraries. And the reason why other libraries might not have a problem with that, is because they foresee not submitting to the same projects as other libraries and risking overlap. But that’s probably because they aren’t getting good shots at good project placements. If they were, they’d have a better line of contact to potentially having exclusive dibs on submitting. And if they did have that, they obviously would be being asked in that capacity because they have a catalog that is exclusive and high quality (otherwise the clients would just do an open submission request).

    So, my point is, that, an exclusive deal can sometimes mean you are dealing with a heavier hitter who can get some seriously excellent placements.

    Now, when you weigh the pros and cons of either or, you want to think about that, although maybe you will only get about 10% back from a non-exclusive deal as you might from an exclusive deal, what if you can get 10% back from 20 non-exclusive libraries? Now, you’re talking about 200% return by staying non-exclusive.

    But, there may be other factors. Maybe with an exclusive deal, you’ll be in line and being groomed to submit more tracks, and generally make more money, get more placements, faster, and more easily than dealing with submitting to 100s of non-exclusive libraries.

    There are some other factors (ie: buyout vs. revenue sharing; credit vs. no credit, etc). But I’ll save that for another day.

    🎹 Evan Evans, Film Composer & Mentor, www.evanevans.org
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  • #2973
    Profile photo of Eric Lein
    Eric Lein
    • Topics: 3
    • Replies: 5

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    Thanks for the reply Evan. Lots to think about.

    So, I have tracks in a few non exclusive places (I really should be putting more time in to submitting actually). Any way, I’ve been in talks with another library, And the contact I was speaking to said I could do either exclusive or non. I was considering doing the exclusive contract in this case just to have multiple based covered. I’m still pretty new to licensing, so a lot to learn, and I’m not really sure if I am making up a reason to sign the exclusive contract.

    Anyway, it’s something I’ll be deciding soon, and discussing with the contact with the library.

    Thank you.

  • #6116
    Profile photo of Tyler J. Wilkins
    Tyler J. Wilkins
    • Topics: 23
    • Replies: 12

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    Eric, I’m glad you started this thread (even if it was three months ago).

    I’m interested to hear of the libraries that are the most reputable. I know I’ll have to submit plenty of work to start earning returns; however, I’d like to economize my efforts, where that is concerned.

    "Do, or do not. There is no 'try.'" ~ Yoda

    TJ Wilkins - TJW Sounds  Creative & Collaborative Scoring

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