Well, I wanna see him trying to make a living with one non-exclusive library as a composer. He is only seeing his side, “the poor supervisor who get the same cue twice” OK, you don’t wanna see the same cue twice? fine, work with exclusive ones, and pay up Bit@h. Please do not complain rich music supervisor, I don’t have time for that, I need to make more music for the 10 non exclusive libraries I work with, so the production company that hire you can get 20000 cues with no money.

The composers are not the only people responsible for that situation, its the production company fault as well for not wanting to pay for music. We as a composers need to make a living somehow and that’s from multiple “no sync fee because its a blanket deal” placements made by multiple non exclusive libraries, so yes, sometime you will see the same cue twice, please, don’t kill yourself.

Best,
FauxMusicComposer

To the two guys who tweeted me…I’ll give a well thought out detailed post tomorrow afternoon regarding exclusive vs non exclusive. I’m ornery right now cause i had to sit through The Office, Community and Parks & Recreation tonight so first I’ll address this braintrust who calls himself “FauxMusicComposer” …atleast he got his name right…

I don’t think this is the same FMC as on twitter. That FMC actually knows what he’s talking about. I dissect his guys posting point by point

1) Well, I wanna see him trying to make a living with one non-exclusive library as a composer

Making a living as a non-exclusive composer is about as common as seing Bigfoot playing poker with the Easter Bunny. I know there’s probably a guy in a fly-over state who can make his monthly bills with his royalties, but find me a guy who can raise a family, afford insurance, car payments, mortgage(s) and pay for his daughters wedding with dollars made from making cues for non-exclusive libraries. You’ll be looking for a long time, cause they DONT EXIST. You might have 1 year where you make $100K, but spread over a LIFETIME $100K is CHUMP. CHANGE. 

2) He is only seeing his side, “the poor supervisor who get the same cue twice” OK, you don’t wanna see the same cue twice? fine, work with exclusive ones, and pay up Bit@h.

What are you talking about? My per-episode fee is fat bro. If you mean poor in the feeling sorry sense, dude i live in LA hang out with rad people, get to stare at the most beautiful women in the world every day and get to introduce great bands to people that would never have heard of them otherwise. Google the band “AMERICAN STEEL”. You’re welcome.

I always use cues multiple times. What are you even saying? The more i read your post the more confused i get. Maybe i should try again when im sober or something. The homegirl couldn’t even understand what you were saying an she was only 1 beers deep. 

I do work with exslusive libraries. One of my shows requires the library be exclusive and the other show is looking like it will add the same policy next season (its already been renewed SUCKA)

Dude i just cut a $10,000 check to Megatrax, I’m happy to spend the music budget on libraries that will actually take my money and not lowball themself

3)Please do not complain rich music supervisor, I don’t have time for that, I need to make more music for the 10 non exclusive libraries I work with, so the production company that hire you can get 20000 cues with no money.

Do you really need to make music? Allow me to give you a clue. Why would a production company pay a blanket fee to non-exclusive libraries when them libraries have mostly the same music…the production would be paying for the same cues over and over again for what should be under a single payment blanket. SUCKA

You’re part of the problem chief. You and your buddies think you’re making more money by spreading the same tracks in different libraries but actually you’re driving prices down. No production company in their right mind would pay 2 non-exclusive libraries for the same production. That’s why I’ll pay exclusive libraries some nice and well deserved blanket fees, and the non-exclusive libraries get well deserved GRATIS LICENSES~~~!

4) The composers are not the only people responsible for that situation, its the production company fault as well for not wanting to pay for music. 

Production companies don’t want to pay for music that no one else pays for. No one wants to be the sucker. Try telling Extreme you won’t pay them a blanket. The owner guy will walk his stalky bald ass to your office and slap the shit out of you. Tell a non-exclusive you won’t pay them a blanket and they’ll thank you and throw you a nice party with an open bar to thank you for the business. 

5) We as a composers need to make a living somehow and that’s from multiple “no sync fee because its a blanket deal” placements made by multiple non exclusive libraries, so yes, sometime you will see the same cue twice, please, don’t kill yourself.

Make a living somehow hmmm lets see. 

1) Universal exclusive library #1 pays $1,000 a track +writers royalties

2) Universal exclusive library #2 pays $1,000 a track +writers royalties

3) Warners exclusive library pays $700 a track + writers royalties

4) Indie exclusive library #1 pays $800 a track + writers royalties

you want me to keep going? ok fine

5) Indie exclusive library #2 pays $1000 a track +writers royalties

6) Sony/ATV exclusive library #1 pays $500 a track + writers royalties + half of any syncs

7) Indie exclusive library #3 pays $500 a track + writers royalties

How much do your non exclusive libraries pay? Whats that lesson from elemtray school where you multiply shit by 0 and the answer is 0…

You say your work with 10 libraries (probably horseshit but ok) and each of them pay $0 upfront

10libraries x $0 money upfront = ZERO HOW CAN YOU PAY BILLS ON THAT?!?!?

and dont give me shit about not being able to work with exclusive libraries. How many exclusive libraries have you been turned down by? Have you even tried to call them on the phone? Not text, not facebook chat, not tweet…i mean fucking picking up a phone and CALLING THEM? I bet you’ve never even tried to contact them. Those cats are ALWAYS looking for new composers and new music just like non-exclusives. The difference is that the exclusive “PMA” libraries fucking pay upfront bro. They’re always asking me about new producers and composers. A couple of them even have online submission forms where you can send them music that they can buy from you. Ah shit you didn’t know that? Dang well you’re welcome. 

and about seeing the same cue twice haha…let me relay a quick story for today

the post producer comes in after his 4 hour lunch break, he was definitely high on some sort of designer drug. he wanted to replace some temp score in a scene with a library cue (not unheard of). he said we had a $500 budget for the needle drop. So i told him…and i got this from a friend…i said…lets start the bidding!!

then we started doing auctioneer voices like on those acutions you see on tv with the guy talking all fast like those old micro machine commercials ohhhh 45 1 45 45 ohhhh shit like that talking really fast

I went online to a non-exclusive site and clocked in some super specific metadata to match the temp and the producers suggestions

Then i went to another non exclusive site and clocked in the same metadata and found the same cue. We then did our voices again ohhhh 45 1 45 do i hear 45 ohhh. That shit probably doesn’t make sense when you read it but it was super funny

Then i let the coordinator who’s on loan from USC try to find the cue a third time, which he did. Keeping up with the spirit of the day and my blood alcohol content, i allowed the coordinator to make 3 phone calls to get the best price for the cue among the three libraries. We…and my friend told me this term…we “reverse auctioned” the placement down from $500 to $25. The post producer took $225, i took $150 and the coordinator took down $100…all money which should have been paid to you, the composer. We submitted invoices to business affairs which the post producer happily signed off on. We pick up our checks tomorrow around 1pm. 

So yes, by all means, keep spreading your tracks around like goober grape on wonderbread. Just don’t complain about not making any money. The show in question…and i hope i don’t out myself but if i do fuck it…the show is on OWN. They pay garbage performance royalties. The composer will probably make all of $10 off the placement. The fucking coordinator who lives in a dorm pulled in $100 just by making a phone call and covering my ass when i go to Big Wangs instead of back to work. 

It would be impossible to pull that stunt with any exclusive library. It happens EVERY SINGLE DAY with non-exclusives. It’s probably happened to one of your cues. The record among my friends is a cue that went from $14,000 down to $250. I’m not saying my guy took the “spread” but a month later he upgraded from a VW Golf to BMW. 4 months later he got a promotion. He actually uses some of my cues for nice four-figure syncs. Oh yea, i forgot to say. I’m a musician too. The roosters in the henhouse. cock a doodle do. bro.