Awesome Tim, thanks for taking the time to do this!
Might I suggest that vocal tracks with lyrics be sold at a higher price point, considering that they have an additonal element element (copy) to them.
Food for thought…. I realize that it’s late in the game and authors like Tim have already been killing it with Vocal tracks. Although unfortunately it doesn’t apply to Audio jungle, I believe that for broadcast you can be eligible (if you’re SAG) for additional residuals based on your likeness (voice) being in a spot.
April and May have been my best months since joining in August of 2011. 37 so far this month.
Thank you for the response. It is seriously awesome that you’ve taken the time to chime in
I have to add, since I don’t often post, that your music is great and every time I catch a Sam Adams spot on T.V. I feel really happy for you because you proved to all of us that you can make it in this industry by being independent, creative and mostly importantly original.
It’s funny, as someone who initially started work as an engineer with local bands I realized that the market value of my skills is only so high where I live. Bands and musicians are usually pretty broke. I know how it goes, truly. So as an engineer I was affordable, to my own detriment.
When I got into composing and writing for visual media I had to learn right away that local bands are VASTLY different clients than those who hired me as a composer/sound designer/mixer. It’s ALWAYS hard to know how to price yourself, what sort of deal to make, what their budget might consist of, etc… One thing is always true, and I think I picked it up mostly from reading posts from Tim, Gareth and many other talented authors here on AJ.
Our ideas and art have value, lots of value. It’s important to be tough when negotiating and to not leave any stone unturned. Every time we stand our ground as freelancers and writers we are adding value for everyone in the community and that’s the only way to seriously keep this industry going.
Thanks again Tim and everyone else who has ever offered advice here.
Thank you so much for the response. The 1 year exclusive license makes a lot of sense. I know protecting myself is key as I’ve made some foolish and ambiguous deals in the past I wish I could take back.
Again, thanks for the advice and all of the help you’ve offered the community as a whole.
Also, man your work is beyond excellent!
Recently, I was asked to come up with a bid for custom music for a job and the client (who, I’m not dealing with directly) is interested in a “complete buyout.” I am creating my estimate for the producer/animator on this project and I know that he is not knowledgeable about licensing, just like myself.
The job is for a major brand, known around the world. I also know that the work is for web.
I realize that a completely buyout in perpetuity for a piece of music could be tens of thousands of dollars. To me it seems unlikely that even a major brand would be willing to spend that amount on something web based.
I think it might be better to offer a 3-5 year exclusive license, at a reasonable rate(although still something worth a damn) rather than sign away something that I create forever.
Any thoughts would be MUCH appreciated.
I don’t often post on the form but I’ve found a huge amount of great information from you guys. I think this is a great community of people trying to do something they love, knowing that it has value and that we all want to maintain the value of creative work for the future.
My advice-would be to take that money and put it towards a solid mandolin. Ukulele is EVERYWHERE, it’s not worth the bucks when you can invest in a mando with a slightly different flavor and it’s not all over the place either (meaning not everyone is using them on tracks)
Good luck man!
+1but guys, there’s more:
talked to a close friend of mine today who is also a producer with a pretty big reputation and he said he knows several cases of agencies buying their music on AJ while charging their BIG clients BIG numbers and keeping the money themselves. In one recent case he said a client of his told him that he received a budget for the music only! of ,converted, $3300,- Dollars, bought a track on AJ and you can guess the rest. He could go on a nice holiday for the difference!
So keep that in mind next time you’re boasting about a big company using your music.
While I admit that such practice is hard to prevent and there obviously will always be black sheep who put ethics way behind a quick dollar, it is a) a matter of refining the licensing (which thank god is getting done step by step!) and b) also definitely a matter of reducing the huge price gap.
I’m sure we’d all flip a lid if we knew how often that happens….
I was assisting at a post host last year-working on a fairly major spot. I helped source music with the engineer and I found something here on AJ that worked and he could NOT BELIEVE how cheap it was. Literally shocked. This is a guy who spent years in Chicago’s once thriving advertising music scene as a engineer, back when composers actually had a budget to have an engineer to mix for them. So, basically, any amount of money not spent licensing music here went towards the hourly rate of the post host for the music search ($500/hr). The even more ridiculous part is the author AND audiojungle are not able to earn PRO money for the spot.
We have to watch each others backs as composers/creative professionals or in 5-10 years there will not be an industry to make even a meager living in.
Let’s do this!