[Fmpro] Turning Down Work

Mon Aug 7 18:43:11 GMT 2006

As you all know I am starting my own library, so I am dealing with those
issues right now.

Since the normal library owns the copyright, they are free to make whatever
deal they want.  If a particular network has its own broadcasting channels
and is therefore not signed with a PRO, then a music library can sell the
sync AND performing rights directly to that company.  In that case, the
composers would never get a penny.  This is one of the many reasons for
composers to always retain their mechanical / sync rights.  Just don't write
for a library that is taking everything from you.  There are others out
there.

Merritt Music Productions
9701 Clearwater Drive
Knoxville, TN 37923
merrittmusic.com
865-357-5473

-----Original Message-----
From: fmpro-bounces+chris=merrittmusic.com at nxport.com
[mailto:fmpro-bounces+chris=merrittmusic.com at nxport.com] On Behalf Of Les
Hurdle
Sent: Monday, August 07, 2006 2:29 PM
To: fmpro at nxport.com
Subject: Re: [Fmpro] Turning Down Work

I think you'll find in many instances the high end Libraries charge a 
great deal of money for sync licenses.
In fact I've heard producers complain of the cost.

Musos cost the same no matter what the date is for !

L

On Aug 7, 2006, at 11:19 AM, Merritt Music Productions wrote:

> Pete,
>
> You're right in that it is "Cheaper."  With library music, we design 
> it more
> like a reusable product to be profited from many times.  With custom
> scoring, we design it to be unique to one product and therefore more
> expensive.
>
> Chris
>
> Merritt Music Productions
> 9701 Clearwater Drive
> Knoxville, TN 37923
> merrittmusic.com
> 865-357-5473
>
> -----Original Message-----
> From: fmpro-bounces+chris=merrittmusic.com at nxport.com
> [mailto:fmpro-bounces+chris=merrittmusic.com at nxport.com] On Behalf Of 
> Pete
> Sent: Monday, August 07, 2006 1:15 PM
> To: fmpro at nxport.com
> Subject: Re: [Fmpro] Turning Down Work
>
> Les, I write library music. Chris writes library
> music. I'm sure there are many library pieces that
> blow some non-library music out of the water.
>
> But, I don't know if anyone would argue that Library
> music isn't a cheaper alternative. For the overall
> project, there is no substitute for a talented
> composer (like Chris) sitting with the picture and
> writing a unified custom score.
>
> I have no idea what learning from Mr. Northam and Mr.
> Holden have to do with this topic. For some reason you
> want to re-interpret everything I write in a negative
> light and then attack my character.
>
> P e t e
> S u r d o v a l
>
> --- Les Hurdle <leshurdle101 at sbcglobal.net> wrote:
>
>> How rude Pete.
>>
>> I see on average 6-8 movies per month...........
>> many of the scores are
>> same old crap.
>> Same goes for TV.
>>
>> There are some Library Composers I know who can
>> write rings around even
>> the Hollywood A list, but they choose to write
>> Library.
>> So let's not start dinging product........ to do so
>> strengthens the
>> division between the perceived 'value' of music by
>> PRO's  e.g Song $1,
>> 'score $0.20 per min., Jingle $0.03
>>
>> My concern over the business practices mentioned is
>> the fact writers
>> work for companies, Scripps is a great example,
>> where the writer
>> assists in the removal of all composer rights, the
>> writer then joins
>> the regular work force and complains about loss of
>> rights, $$'s etc.
>>
>> Have the words of Mr Northam and Mr Holden fallen on
>> deaf ears this
>> past few years?>
>>
>> Les
>>
>> On Aug 6, 2006, at 8:22 PM, Pete wrote:
>>>  If the house
>>> (show) is in a bad neighborhood (History Channel),
>>> they might just use the old kitchen cabinets with
>> some
>>> fresh paint (library music). They know you would
>> put
>>> in a fantastic new kitchen (score), but the profit
>>> margin is low with this house, so they'll stick
>> with
>>> the old cabinets. Of course if you want to put in
>> a
>>> hot new kitchen for the same price as refinishing
>> the
>>> old cabinets, they'd be all to happy to give you
>> the
>>> job.
>>>
>>> Hopefully, when it comes time to put a new kitchen
>> in
>>> a billion dollar mansion (hit show), they'll
>> remember
>>> your work and pay you what you deserve.
>>>
>>> Best,
>>> P e t e
>>> S u r d o v a l
>>>
>>> --- Merritt Music Productions
>> <chris at merrittmusic.com>
>>> wrote:
>>>
>>>> Hi all,
>>>>
>>>> Glad to hear the expo went well!  Thought you
>> guys
>>>> might like this.  I
>>>> turned down a $5k job last week.  Here's why:
>>>>
>>>> Last year I did a History Channel show for this
>>>> production company.  It's a
>>>> company I really wanted to work with so I did it
>> for
>>>> less than normal -
>>>> $3,500.  I was thinking it would be the start of
>> a
>>>> long relationship and
>>>> all, you know the drill.
>>>>
>>>> Anyway, the music turned out great.  I'm not
>> saying
>>>> this to brag, I mean to
>>>> prove a point here.  I have a top of the line
>> setup
>>>> with all the major
>>>> samples and such, but I also played real cello,
>>>> violin, flutes, guitars,
>>>> drums and so on.  It was a real work of art in
>> some
>>>> places; they were
>>>> amazed, and loved it.  I told them my price was
>> that
>>>> low ONLY for this first
>>>> project.
>>>>
>>>> After some time of not getting any more work from
>>>> them, I realized: they
>>>> don't really care about the quality.  Now that
>>>> they've had a show composed
>>>> for $3,500, which is not the cheapest they've
>> had,
>>>> they don't want to pay
>>>> any more.  No matter what.
>>>>
>>>> But it gets better:
>>>>
>>>> They called me last week and said the usual:
>> they
>>>> LOVED my work and really
>>>> wanted me to do some more for them.  Great!  We
>>>> talked about the show and
>>>> the musical needs and I determined that I would
>>>> still cut them a break.  I
>>>> have a minimum of $5k.  That means that I
>> normally
>>>> don't do any type of
>>>> project unless it pays at least $5k.  So I told
>> them
>>>> I would do it for $6k.
>>>> A steal in my opinion for any real composer.
>>>>
>>>> He emailed me back saying that they only had $5k
>> in
>>>> the budget (b.s.) and
>>>> that it must be the SAME contract as our earlier
>>>> project together.  I asked
>>>> for him to send me the contract from the last
>>>> project because I was out of
>>>> state.
>>>>
>>>> Turns out the earlier one was a pure
>> Work-for-hire,
>>>> granting the writer's
>>>> share back to me.  These are the types of deals
>> you
>>>> have to look out for
>>>> nowadays.  This production company is making
>> THEIR
>>>> OWN music library from
>>>> composers who have scored their shows!  He told
>> me
>>>> this directly.  So when
>>>> you score for them, they are REUSING your music
>> as
>>>> much as they want without
>>>> paying!
>>>>
>>>> I told them I would still do it, though.  $5k for
>>>> non-exclusive licensing
>>>> and NOT work for hire, or $10k for pure work for
>>>> hire.
>>>>
>>>> They haven't called back......
>>>>
>>>> Moral - Composers should make EVERY deal be
>>>> non-exclusive licensing ONLY
>>>> (huge projects could be different)
>>>>
>>>> NEVER do a work for hire!
>>>>
>>>> Hope everyone is well.  I'll keep ya'll posted!
>>>>
>>>> Chris
>>>>
>>>> Merritt Music Productions
>>>> 9701 Clearwater Drive
>>>> Knoxville, TN 37923
>>>> merrittmusic.com
>>>> 865-357-5473
>>>>
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>>>
>>>
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