Thinking of going exclusive? Don’t. Exclusivity can be good for some, but for most, it’s just a bad decision. In this day and age, with all the economic uncertainty, it baffles me as to why anyone would go exclusive in anything, let alone their music licensing. Before you sign that agreement, make sure you consider the ramifications of your decision, by examining each of these points in detail, so that you don’t lose out in the long run.
1. Commission Rate Bait and Switch
Most libraries and marketplace sites offer a slightly higher commission rate if you go exclusive. Many offer between 50 and 60% as opposed to their normal 25-50%. While this seems like a good reason to go exclusive, many libraries will give you this higher rate as an introductory rate, and then lower it dramatically if your tracks don’t sell past a certain quota. Then, you’re tied into an exclusive contract and making far less money than you were originally promised.
You should diversify your sales channels for the same reason your diversify your investment portfolio. If one library tanks, or if sales patterns change, or you don’t perform as well on one, the others keep you in the game. Furthermore, you can make a higher average commission and gross income by spreading out, rather than selling in one place.
FACT: Productiontrax always pays 65% commissions on the prices YOU set.
2. Number of Sales vs. Price per Sale
Some libraries are notorious for setting low prices to gain a competitive edge. They then lock you in to exclusive contracts to sell your music for a few bucks (some as low as $1) a piece. Think about this for a second. They are giving out sync licenses (which most artists get paid THOUSANDS for) for less than $10. While they may sell more tracks (until their marketplace becomes so bloated with tracks that you might sell one a month…) your music is being devalued, and given away. You also have no control over the price of your music. The library you signed with can set any price they want, and some strategically price it just low enough that you can’t make your payout balance.
My advice, don’t sign an exclusivity agreement unless they guarantee a minimum price that you are comfortable with. Some smart copyright owners also ask for a minimum payout guarantee every month.
FACT: You control your pricing on Productiontrax. Period.
3. Hidden in the terms of service…
Read your contributor terms of service agreements carefully. Some libraries have started working with a companies like GoDigital and others to “track usage in and be appropriately compensated for internet streams”. These companies employ a technology that finds your music (that you already licensed out) in your customer’s projects. They then insert advertisements (or just claim copyright infringement) and collect revenue. This seems wonderful, until you realize that the contract you signed allows your library to keep 100% of any advertising revenue generated by your music.
Not only are you getting screwed there, with your library making tons of money without paying you a dime, but your customers are not getting what they paid for – and they are getting angry. See if they buy one of your songs again, knowing that YouTube is going to hijack their project.
FACT: Productiontrax never hides your royalties. We do not work with these “monitoring” companies, and we advocate for BOTH our clients (who are also your clients) and our artists.
4. Competition
Before going exclusive, ask yourself how big of a contributor base does the library you are signing with have? The larger the base, the harder it is for you to sell because there is more competition. That means more of the same sounding music, more choices, and lower chances of being selected. Think about it: a customer is on a huge community library with 1,000,000 artists. They look for a piece of dance music, and get your track among about 5,000 other options meeting their criteria. That gives you a 1 in 5,000 shot of selling your track to that customer. Might as well play the lottery with those odds.
If you diversify, you give yourself a greater chance of success because your music is in more places. If you are on 10 smaller libraries and each has, oh let’s say, 500 matching options for a given customer’s music search, you’ve just increased your chance of selling to 1/50.
Think about what you can do if you have 10 tracks in every category, on every site.
Diversification just makes more sense. Unless a library is making some very specific guarantees that you just can’t get anywhere else, always stay non-exclusive. This way, you stay in control of your financial future, and your hard work.
