5 Years & Only $2K Earned In Sync Licensing?
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- Опубликовано: 18 сен 2024
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* Sorry for looking at the wrong camera for half the video guys 😂
All good, Jesse :) You were the 1 person that gave me initial insight to build myself up to the point that I've found placements . You are the real deal, and I'll never tell anyone otherwise.
It's a long-term thing, and most folks are impatient when it comes to this.
from my experience being 5 years in, the biggest factor for me is getting with the RIGHT publishers that will get you placements quickly, not only for the career advancement but more so on the morale boost it offers.
the harsh reality is that its a crapshoot, there are no best libraries anyone can offer, only ones best fit for your music (which is trial and error). had instances were i do real poorly and a peer do really well with their tracks and of the same genre with one lib, and on another vice versa. it may take a minimum of 5 years just to even get a barometer if a library is going to work for you, some get lucky in year 2-3, some may see a little movement year 3-4, some may not have any movement then blow up after year 5 (which is not uncommon), and unfortunately some may not realize they hit a dead end by their 5th year especially if theyre not working with multiple libs at that point.
Also take in account covid era, production halted for a while and what i've noticed is that the vets were not phased at all or the least had consistent income per earnings due to having a big catalog and syndication prior covid (but are just now seeing a delayed drop due this), but folks who just got the ball rolling circa 2018-2019 had stagnant or very minimal increases in their quarterly statements 2020-21, unlike the crazy trajectories i hear about pre-covid. i put myself in a mindset were i actually lost 2 years due to covid which gave me the strength to push on....i am happy to say im glad i stuck through it and slowly seeing the snowball effect finally, although a lot has to do with getting into the RIGHT libs the last 2 years....good luck everyone its a bumpy ride....
100% Agree Erik - I was in a similiar situation after 5yrs and then suddenly - BOOM - I got into a really great Publisher and things are taking off for me now.
Yeah I’ve been doing this for around 4 years , have over 450 tracks out there and my checks have been a bit lackluster! I’m gonna stick with it, because it’s one of my retirement plans and I love doing it! You gave me the know how to do this and I appreciate all the videos and the courses, I may even join the academy again for inspiration!
Even with all you’ve shared, Sir Jesse & the other comments I’ve seen, it doesn’t matter. I’m DETERMINED to do this! Going around “hat in hand” begging people to buy tracks or dealing with artists’ drama is NOT for me, I’m too old for the crazy stuff. IF I don’t “make it”, then it’ll be on me & no one else. But anything else I’ve ever done in my life, I made it work & this will be no exception. Just call me “the little engine that COULD”. ✊🏽
I’m glad this video popped up. I don’t plan on quitting but it helped me embrace the struggle. If you really love this you have to love the downs as much as the ups.
Thank You Jessie I appreciate your Honesty. I learned alot from the Sync Academy and I'm still learning. Sometimes life happens and you gotta slow down for a bit, but I love music so I definately wont stop with the Sync Licensing.
Based on what I've seen, you do an admirable job of walking the line with people 👏. It's not easy talking someone down off the ledge when you feel like pushing them over.... It's no fun when you see potential in someone but they don't see it in themselves. That's the job you signed up for, i wish you all the success you can handle✊
That "million dollar question" is what every person with a goal, every artists and every entrepreneur will ask at some point. Perhaps you have to stop and ask yourself WHY are you doing this or pursuing these goals. If it is fame and money, is THAT the right goal?
Here's a story out of my life that I use as the basis for everything I do and every goal I have - bear with me: I ran cross country in high school and felt I was pretty good, and was improving year after year (I still even hold the high school 800 meter record - but I digress). There was this race where schools from everywhere would go and run and there would be hundreds of runners. It was considered the pinnacle race in cross country for the area. The first year I was like 400th place. The following summer my buddy and I went to the site, we walked it, mapped it (before internet mind you), and photographed areas. We made these two big boards and pinned the photos and the map and we studied it and looked at ways to improve. We ran the race as a practice many times that summer. We then asked the coach when school started for advise, and we planned. The race day came and we all started running. There were these two big turns towards the end. I came around one turn and saw no one ahead of me. When I got to the last and final turn where there was an uphill sandy area, I was in so much pain that I stopped half way up. At that point the coach showed up at the top of the hill and shouted "what the f*** are you doing you're in first place!!!" And just like that 8-10 more runners passed me. I gave it my all, and in the final stretch was able to pass several runners but only came in 5th place. I never ran that race again.
What's the point of my story? Never give up until you've given it your all. Set the right goals. My goal was to win but only got 5th place. Yet I am still content to this day knowing I beat hundreds that day. I planned. I researched. I gave it my all. But I gave up just shy from the moment of glory thinking I was already defeated. I ran only to win 1st place instead of to run to beat my own record. When I didn't get what I wanted I gave up. What I wanted was not the right goal. What I should have wanted was to beat my own record and just be a better person out of it.
Sorry for the long text.
Absolutely, every path you take can prepare you for something else. I’ve been working towards my Sync career for a little over two years now. Have had some small successes, but still no exclusive partnerships. So in the meantime, as I continue to improve on my production music, I decided to start a beatstore, selling to unsigned artists. I’ve gotten off to a good start with it all, even making a couple sales in my first month and have grown a nice little database of current/potential clients. But I know I wouldn’t have gotten off to such a good start had it not been for many of the things I have learned from being part of Sync Academy.
i appreciate your honesty and transparency on this, I see to much what I perceive to be predatory behavior with youtube mentors offering courses.
Appreciate these kinds of insightful videos, thank you.
I always enjoy watching your videos Jesse. You always give a balanced point of view and optimism.
What you say is valid globally and not just for those in the USA. I am from the UK and appreciate your work and dedication in reaching the worldwide community.
Glad you found my channel!
I am just getting started in the business. And I must say if I was at it 5 years and made that little I would probably look for another income myself. Yet at that same time I am not the quitter type. I plan to hustle my ass off and use everything the Sync academy has to offer in order to have the best possibility of sucess.
IMO....I believe the mind set of people, in Sync Licensing, plays a very important part on their success. And I'll use myself as an example. Five years ago, I wasn't into Sync Licensing. I just started learning how to compose music using a DAW. I was having fun, I didn't put any pressure on myself, and I didn't worry about what people thought about my "sound." I just let it flow. About 3 years ago, while still working a F/T job, I got into Sync Licensing, and my mind set changed. I was thinking Sync Licensing money as F/T income, thinking if my tracks were good enough to get licensed, and combining that with grueling work days, I was exhausted physically and mentally. But I felt that I HAD to keep going that route, and that produced no results. About a month ago, I retired from my F/T job and, thank God, that same week I got a gig doing live sound engineering with a very flexible schedule. It freed up a LOT of time, I'm relaxed, I enjoy my new career as a live sound engineer, and I can really do Sync Licensing at my discretion and I'm back to having fun with no pressure. AND...my non-Sync Licensing tracks, I started out doing 5 years ago, are starting to generate royalties. A lot of life's variables can make or break someones Sync Licensing career. My Sync Licensing career was flat lining, but now it has a pulse again.
Yeah I can definitely relate to this video but.. I'm not gonna quit
This composer is going through what probably the vast majority of aspiring tv music composers are going through. The market is indeed saturated with composers, so our job is to find a way to get noticed.
I didn’t hear what genre the composer focuses on, or how many genres he writes to. Is he responding to specific briefs and meeting tight deadlines, or is he simply sending music to libraries as projects are done with no specific brief or show in mind? Is he adjusting output based on what gets placed?
This business can be like a raffle. The more tickets in the hopper the harder it is for your number to get picked, so to increase your odds of winning you need to buy more tickets. Same thing for music libraries. Libraries pitch music to music supervisors, is your material fresh and current? 300 tracks in 5 years is about one track per week, which is respectable for many, but still not enough to generate a decent amount of revenue. If the music is good, find a way to create more of it. And don’t be afraid to try new libraries… I’ve noticed that library popularity can ebb and flow, it’s good to have options and forge new relationships.
I have only been composing music for a while now. I'm not in a rush to make it to the top. If it happens it's ok. If not then at least I got my music out there for the world to hear. I never worry. I don't. I just compose music. I do so for the joy of it. If it was an obligation I wouldn't do it, or enjoy it.
You'll do very well with that mindset 👍
It used to be that it took 200-300 tracks to start making some income; nowadays it takes 500-1000 tracks, because of the amount of music that’s out there. Also, for the composer - you can find publishers that offer (sometimes great!) upfront fees, that’ll boost you while you’re working along to get the royalties to grow :)
Unfortunately, your former student failed to develop a short financial game. You said, "from the very beginning", that sync licensing is the long financial game. I attend your Academy and I started doing Voice over along with Sync. Voice Over is my short game. I'm still a new sync producer. For this reason, I'm taking my time, and learning from your videos and others to produce quality music. I'm convinced that my hard, smart work will pay off!! Many blessings!!
I recommend learning as fast as possible, bc when it come to producing/mixing, you’ll never stop learning new things.
After being accepted by three exclusive and one non exclusive library(s) and over 120 tracks accepted and only made $500...and that's a sync fee from the non exclusive one...
How is that possible? I think that it is rock music that nowadays gets paid that low because i know producers that make beats on the internet (xcaliber zero) and make TONS of money through sync.
can i still pitch supervisor through Gmail or LinkedIn even so if my songs are already on music sync placement websites or publisher such as tune core or music gateway ?
I would say it depends. I would confirm with the library/publisher agreements to see if it's OK.
@@Passenger-hn5fb thank you so much for replying to my question.
As long as you still have control over the publishing rights of the music you're submitting, yes you can.
@@SyncMyMusic thank you
a friend of mine got like, 100 placements through this group. but they dont share ne sync fees and she only made a few hundred bucks across like 7 years. seems like libraries just ripoff musicians. they didnt share sync fees, and they also took half of her writing side, by adding ppl who did the mix and master. completely nickle and dimed her. big placements too. all sports stuff, reality shows, a few hbo shows. the industry just rips ppl off.
Sorry to hear your friend had such a negative experience with her Library partners - sounds super frustrating! I'm really not a fan of giving up half of the writers share to anyone except those who add serious effort to the creative/writing process.
seems like many license libraries trick them into taking a measly cut per "accepted track" as an excuse to keep all the sync fees, and sync fees are almost the majority of profit nowadays since covid gave all these networks the perfect excuse to not give their royalties up. she has 100 placements and made maybe $300 over the last 3 years. meanwhile her library just pockets all these sync fees from nfl and nbc, clearly thousands of dollars on the table, and they sleep nice and tight at night. they should be splitting sync fees, composers can barely pay their bills now. it is all so predatory
Sounds like the honeymoon is over after 2 years and at 5 they get the 5 year itch....ready to bounce....Sounds alot like my first marriage.?.? 😆
This guy is with the wrong libraries i guess. Just continue ! Sometimes i get my money for placements 3 years later.
Hard not to get discouraged after 5 years and very little in the way of royalties. Who knows, maybe it will just pop for this person later on.
I’m about 2 years in, working with 2 libraries and now trying to add a third. I have only one placement to date. I’m gonna keep at it though because I love making music and hearing it in TV or Film is really exciting and rewarded for me. Sounds like you really gotta partner with the right libraries and the rest is a bit of luck.
I wish everyone great success!
Very disheartening!!!! Scary!!!! 😥