Here’s another music licensing update for you. As mentioned in previous licensing success updates these placements and payments have come from the results of my efforts throughout the music licensing challenge
Before reading this update:
Review the music licensing case study , it will give you an understanding of how all of this has progressed overtime.
This post outlines all profit made made from June 2014 – December 2014.
Placements From Music Libraries
June 2014 – $329.89 (before fees). This was a combination of 2 mid level libraries. I call them B grade or mid level because they tend to price reasonably. $100 and up per license (non exclusive).
July 2014 – 9 transactions totaling $269.91.
August 2014 – This was the month I began dropping libraries (well pulling music from them). Spent a little time building my team. Profit for this month was $149.97 – 3 transactions.
September 2014 – 17 transactions, the most I’ve had in a while, but the profit?…. $169.83. This is a result of being affiliated with low balling libraries.
Low prices = more transactions
Surprisingly, one of the customers was Walmart. They can use the track in their store for as long as they want and I get no residual. Sucks, but it’s the business model I agreed to (royalty free).
Oct/Nov 2014 – During these two months I was in the process of removing my music from a lot of libraries in order to conduct business with a major TV network.
This was a pain in the ass because most of the libraries require written requests, and it takes months, sometimes even longer
Am I killing off sources of income? Yes, temporarily in hopes of a better business relationship and returns. I’ll keep you updated.
December 2014 – 1 Placement for $49.99. Not the my best once, certainly not my worst.
Music Placements From Music Supervisors And Personal Business Relationships
I didn’t make very much money from my direct contacts, but there was lots of progress. Here’s the breakdown of active months:
June/July 2014 – $0.00 I did a lot of going back and forth with Judy. What I was trying to do is get a deeper understanding of what genres she could pitch within her networks.
She was nice enough to forward me tracks and producers to study, but I needed more information.
The info that was missing:
- Types of tracks that were being licensed
- Which tv shows or companies were licensing the music
- Which vehicles were being used to find the music (licensing company or personal connections)
This type of information is crucial when mimicing another composer’s footsteps.
Sidenote: For those who don’t know Judy, she’s a music supervisor I met during the challenge who has assisted with a few placements (Retail stores/reality tv etc).
I took a gig as an audio editor for a few game companies. I mentioned this briefly in one of music business goals post series. I’ll be lined up with work the last week of Jan 2015. So for any of you looking for place music in games… I’ll be able to help out.
Oct/Nov 2015 – Negotiations! I spent a lot of time began negotiating with media companies. The goal was to find a platform I can push my fans, readers and subscribers to. Basically, finding ways for you guys to get paid.
Dec 2014 – $0.00, but I was able to sign a non exclusive agreement with a library that supplies a good amount of music to Storage Wars. Hopefully something great comes of it later on this year.
Closing Comments
I’m thinking of doing another licensing case study, but with a different course or company. If you know of any please shoot me an email and I’ll check them out.
Great work Greg! Why did the major TV network required that you remove your music from various libraries? I wonder if they do that so that they can ensure there is no re-titling.
Hi Steve,
Yes, That was the biggest issue, they didn’t want to deal with any of that. Most of the people I’m working with now want nothing to do with libraries. There are a handful that they trust, but for the most part, they want music that has been untainted by the business model.
Hi Greg,
By saying, “they want music that has been untainted by the business model” are you referring to the Music Library Model? Do they want virgin music that hasn’t seen the light of day or are they expecting some sort of issue from a Music Library it’s self?
Joseph,
Yes, I’m referring to the library model.
Pulling the plug on the libraries must have been a difficult decision, especially given all the hard work put forth by you to get your cues into them. It’s a risk but it sounds like it could potentially put you on a higher level as a composer.
Yea, it was a tough decision. I’m still apart of them, but as of right now the music is stripped.
Hey Greg, thanks for giving us an inside look on how things work, and strategies that you’re trying to put yourself in a better position. I know you’ve shared with us the last 6 months of 2014, but can you elaborate on how you’re strategies worked for the first 6 months of 2015? Thanks again for all of your input on the industry. It is greatly appreciated.
Hi Les,
yes of course, that post wont be out for a few more months though as I’m waiting for the transactions to finalize :).
Got It.
Greg! Its been awhile since I’ve checked out your site. I must say that your 90 Challenge here was really interesting. In fact the timing is incredible as I have just submitted my music to 4 Licensing companies, and I was turned down by 2 of them so far. However your post here of this course is going to get me to register for the 180 day challenge. Thanks for all of your info here. Its inspiring. 🙂