Yea, there is a difference between "productionmusic is dead" and "money is getting shorter". Could of course be that the deal gets changed or lowered, so probably best to diversify. These payments can range between 200-600 or more euro so when being lucky enough to get into such labels it's a good way to bridge the performance royalties waiting time. In the worst case I'd have to increase quantity of my output, but since dramatic dips certainly don't happen over night there would be time to work on that.Īnd no, till my royalties reach a very high amount I don't even focus on them (the 2k every BMI quarter are a nice "unexpected" helper, but I don't count on it and ignore it overall) and live from upfronts and advances, which are being offered by a good amount of labels. I'd be more than happy with 30-40k a year so if that's achievable by doing music with a relatively high amount of freedom compared to other music industry branches I'm all in. I'm not surprised that things are getting tighter and tighter. Really don't know how you think this is a defence for your statements. There are not too few labels (although not many either I think) that have good or great upfront deals, sometimes at the expense of royalties/sync.Ĭlick to expand.Yea, there is a difference between "productionmusic is dead" and "money is getting shorter". That's a specific and lucky situation of course, but not entirely. Where do you take that from? Advances from a productionmusic label have literally taken me out of a homeless facility (no kidding at all) as a 24 year old guy only starting to take it seriously for maybe a half year by then. It's probably gonna turn into a trademark and sign of quality to "not" use AI, just like it's the case with samples vs live recordings, despite samples being at a point where the average person will struggle to discriminate between a well-done mockup and a recording. I also would be really surprised if the larger labels start using AI for their music. It's so ridiculously easy to at least get a chance at this (of course just a "chance", doesn't mean they will be interested, but that's true for every good opportunity), and those are some of the biggest labels. So there clearly "is" a way to get in if the material holds up. If they wouldn't listen there would be no point in inviting spam. Universal, WarnerChappell, Westone, AudioNetwork - just to name a few.
There are also lots of larger labels that literally have submission invitations on their contact pages. What's the backing that production-music is "over"? So, where do you take this debbie-downer attitude from to discourage people from this business?
UNIVERSAL PRODUCTION MUSIC LABELS MOVIE
I know someone who was doing music for decades, even worked on larger movie productions etc and only made a living in the last few years because of royalties. There are not too few labels (although not many either I think) that have good or great upfront deals, sometimes at the expense of royalties/sync.Īnd there are lots of composers making a very good living from royalties etc right now.
Click to expand.Where do you take that from? Advances from a productionmusic label have literally taken me out of a homeless facility (no kidding at all) as a 24 year old guy only starting to take it seriously for maybe a half year by then.
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