Pumpaudio.com

[gubu]

People,

What is the, uh, deal with this company?

I got green lighted by them in may, signed up and sent the contract and my CD and have not heard a word from them since. My account page is still saying 'music received-awaiting review' since may 25th. Are they still in business or are they always this slow getting back to songwriters?

Has anyone else here dealt with them and if so, how was your experience? I only submitted to them on a whim but when they green lighted me and got me to sign a contract, I was expecting to hear something back. Not a sausage, what's the story?

[ZERO HEROES]

Never heard of them.

[Synonym Music]

 

Never heard of them.

 

Occasionally you'll see them on shows that require a large variety of music for every episode - educational saturday morning stuff where the tune changes every 10 seconds.

[Johnny-Boy]

They're very, very slow on the business end Gubu. They're a film music library. Getty Images bought them out a while back.

 

I signed 20 tracks with them two years ago. It took them a year to register them with ASCAP, even though I was getting several placements with them on WE Network, Travel Channel, and Discovery.

 

They recently dropped the composer's share of lincensing from 50% to 35%. The writer's PRO royalties remain the same.

 

They have a non-exclusive clause in their contract, so you can also publish your tracks with other non-exclusive publishers. If you want to make money, sign-up with several film libraries with as many tracks as you can.

 

Good luck with them.

 

Best, John

[mgv1]

Also, check out

 

http://www.themusicsnob.com/2008/10/06/pump-audios-retitle-publishing-music-licensing/

 

I am wondering how much exactly this retitling policy impacts the songwriter's ultimate return.

 

I've considered the alternative route of going thru an actual music publisher. The details of percentages usually boils down to 50/50, which is the alternative to pitching\promoting your own music and self-publishing.

[mgv1]

Johnny-Boy -

 

Just wondering how much income was realized from the 20 song batch from Pump, and from the whole group of non-exclusive libraries totaled.

 

Also, which other libraries are recommended.

 

Thanks

[Johnny-Boy]

Johnny-Boy - Just wondering how much income was realized from the 20 song batch from Pump, and from the whole group of non-exclusive libraries totaled. Also, which other libraries are recommended. Thanks

 

Without divulging my fraudulent tax returns, the Pump licensing fees at 35% are rather low. However, my ASCAP royalty’s are usually much better. That’s why I mentioned using as many of the film music libraries as possible. And produce a {censored} load of tracks.

 

Just to put royalties in perspective (without sharing my private business); it depends on if your track is used as a theme (can be big bucks), or just background to scenes, whether it’s primetime / off-time, duration of track used, how many re-runs, etc., etc…

 

One of my tracks was used for three years on primetime “Dateline NBC”. It generated $80 for every 12 seconds of play (that was great). “Travel in Style” (ABC), played in the middle of the night. Only 1/10 the pay-out as Dateline (but it’s been 4 years and still going). These two tracks weren’t Pump Audio tracks though. Pump got me plays on “The Secret Lives of Women”, “Extreme Sea World, a holiday special on the Travel Channel, several others that haven’t showed up on my ASCAP statements yet. Often you won’t know where your music is being played until the PRO royalty statement arrives (6 months behind the play date).

 

The Bad Girls Club used one of my tracks. It was re-played several times. Now I just received a notice from ASCAP that it’s being played in Norway, Sweden, Canada, and the UK. Not sure what kind of rates will be generated from that. But every niche and cranny adds to the pay-off.

 

I’ve also received licensing fees from Pump from an array of clients where ASCAP royalties don’t kick in. Licensing like “Photobucket ( a lot of these kind of uses: http://s430.photobucket.com/albums/qq24/___who___/?action=view&current=1b1b10d8.pbr , student films, etc. I even had a large Newspaper in Bosnia license one of my Creepy Xmas tracks (have no idea what they used it for). So there are many instances where you won’t get royalties from your PRO, only licensing fees. It’s very difficult to collect on Internet use.

 

How much one earns on a given track is calculated through a hodgepodge of variables. Can’t be more specific than that.

 

The money isn't my key factor anyway. I just want to have my music used and listened to.

 

Hope this gives you a general idea. Don't be too proud to except the scraps until something substantial comes along - I'm not.

 

Best, John

[mgv1]

Thanks very much for the wealth of info!

 

I have some music still being classified in the Pump catalog after acceptance and have not yet decided to sign the new agreement for the new split. I haven't tried outplacing the same tunes to other online library outfits yet.

 

I did it as my first marketing experiment to primarily see if the music met broadcast quality standards and was musically qualified for commercial use.

 

I have wanted to also approach non-library, non-online publishers for other more commercially radio-friendly songs, but am squeamish about signing contracts without a music attorney (which is not in my budget). I wish more people had experience with that ballpark to share with newbies in the biz.

[Johnny-Boy]

 

Thanks very much for the wealth of info! I have some music still being classified in the Pump catalog after acceptance and have not yet decided to sign the new agreement for the new split. I haven't tried outplacing the same tunes to other online library outfits yet. I did it as my first marketing experiment to primarily see if the music met broadcast quality standards and was musically qualified for commercial use. I have wanted to also approach non-library, non-online publishers for other more commercially radio-friendly songs, but am squeamish about signing contracts without a music attorney (which is not in my budget). I wish more people had experience with that ballpark to share with newbies in the biz.

 

 

My pleasure

 

Remember as long as the film libraries have a non-exclusive clause, you can submit the same tracks to different publishers. Some of my tracks I have in several libraries. Some of my publishers are exclusive, so be careful and keep good records where your music is at.

 

I just had a problem with one of my exclusive companies. I sent some of their tracks to a different publisher (just as examples of my work), without thoroughly reading their contract. They showed up registered with ASCAP with both publishers. A clause in the second contract stated that any music they received from me was automatically covered under the original contract.

 

Fortunately the original publisher called them and straightened it out (after I alerted them), but this could've cost me. Read your contracts thoroughly.

 

Good luck, John

[mgv1]

Thanks

 

If there are any hints about how to narrow down the search for a reputable exclusive publisher or any info on sizing up contracts, it would sure be helpful.

 

Thanks again,

 

Mike

[Johnny-Boy]

 

Thanks If there are any hints about how to narrow down the search for a reputable exclusive publisher or any info on sizing up contracts, it would sure be helpful. Thanks again, Mike

 

 

There aren't too many "exclusive" film music libraries left.

 

However try some of these non-exclusive ones: Crucial Music, Transition Music (exclusive), 1,000 Tracks, Scorekeepers Music, Musync, DSM Producers; there are so many. You can Google and find more.

 

As long as they're non-exclusiive you don't have to tie your tracks up with one deadbeat library. Get your music in as many as possible.

 

And make sure you understand their contracts!!!

 

Best, John:)

[Johnny-Boy]

Here's a website that gathers reports from user experiences with music libraries. It's in it's early stages, but I'm sure the reporting will grow.

http://musiclibraryreport.com/

 

Here's their list of music libraries so far:

 

615 Music

APM

AudioMicro

AudioSparx

Beatpick

Carlin Music

Composer Collective

Crucial Music

Deadly Dreams Music

FirstCom

Indie Cues Music

InDigi Music

Music Dealers

Music Licensing of Hol...

MusicLoops.com

MusicSupervisor.com

MyMusicSource

Producer's Tool Box

Productiontrax

Pump Audio

Rumblefish

Soundfile Productions

YouLicense

[Karma1]

Johnny-Boy - thanks for that list of music libraries!

 

As far as Pump Audio, I was green lighted, and all set to submit my music to them when I decided to Google them and do some research on other people's experiences with them. What I found was a whole lot of people that were very unhappy with them. One issue was that a lot of people who signed on with them and had a contract to receive 50% got knocked down to 35% when the company decided to change their policy. For someone coming in now under the 35% rate who agrees to that is one thing. But if you have signed contract to receive 50% I can understand being pissed off at getting knocked down to 35%, which is quite low compared to other companies.

 

There was also another issue that had something to do with them reserving the right to re-title your songs and make money on them. I don't fully understand that whole thing, so I don't want to put out any mis-information. But I know that how ever it works, a lot of people were upset about it.

[Johnny-Boy]

Hey Karma!

 

Yeah, that 15% drop in licensing fees was a punch in the nose. However, most these libraries (including Pump) are non-exclusive, which means you can sign these same tracks with other libraries (the more the better).

 

That's the reason they re-title your tracks. So the PRO royalties are funneled to the company responsible for the placements.

 

When libraries re-title your tracks, they most often use a prefix before the original title, e.g., my "Beauty Within Ugliness" is re-titled "QMIX Beauty Within Ugliness" for this particular company.

 

One of my Pump Audio tracks titled "Dracula's Heart" is re-titled "PUMP AUDIO 95875".

 

This way when one of Pump Audio's clients place that track, the client will use this re-titling when notifying the PRO, thus, the royalties will go to Pump and myself for that particular placement.

 

Now when another company uses this same track, they will use a different prefix (or #), and then that placement will be credited to that company (and myself). The writer will always be credited with the placements from all companies they’re under contract with.

 

Best, John

[Johnny-Boy]

Here are some more that aren't on the list. I'm not making any recommendations though. They could come back and bite me.

 

royaltyfreemusic.com

shockwave-sound.com

indie911.com

iamusic.com

nonstopmusic.com

songcatalog.com

licensemusic.com

davenportmusic.com

 

I guess you're getting the picture of how these libraries are growing. I'm thinking about starting one myself. If I do, I would keep 100% of the licensing fees, and the writer would get 100% of the PRO royalties. It’s a simple arrangement that requires very little book work.

 

I would then go the blanket licensing route. For instance; leasing my entire CD library to NBC, ABC, etc at a fixed price for X number of months.

 

Best, John

[mgv1]

Thanks again for shedding some light on the music libraries, Johnny-Boy, your input is appreciated!

 

I've wondered if anyone knows if it's necessary or desirable to be signed on with a PRO like ASCAP, BMI before getting songs to libraries.

 

I also am interested to know if anyone has tried submitting music to publishers listed in the Songwriters Market books (annually published). I don't think those publishers are libraries, but own exclusive rights over the music via their contract and may be more specific in their market targets. There is usually more of a protocol to follow to prepare to submit demos to bypass "no unsolicited etc.etc."

 

Any feedback is appreciated.

 

Thanks

[Johnny-Boy]

 

Thanks again for shedding some light on the music libraries, Johnny-Boy, your input is appreciated! I've wondered if anyone knows if it's necessary or desirable to be signed on with a PRO like ASCAP, BMI before getting songs to libraries. I also am interested to know if anyone has tried submitting music to publishers listed in the Songwriters Market books (annually published). I don't think those publishers are libraries, but own exclusive rights over the music via their contract and may be more specific in their market targets. There is usually more of a protocol to follow to prepare to submit demos to bypass "no unsolicited etc.etc." Any feedback is appreciated. Thanks

 

 

Personally I don't think joining a PRO prior to getting public performances (TV, Film, etc) is of much value. Also, as I stated before, most film music libraries will re-titled your tracks, so registering them yourself would be for naught.

 

The “Songwriters Market” started out as a good source of legitimate contacts in the Industry. I used it many times in its early years. But each year I saw the legit publishers/record companies pulling their listings out, and I was receiving more and more scams. You know the type; we love your song and want to make a good demo to send to our contacts in the Industry. Please send us $200 to cover your cost of the demo (and we’ll send you 10 copies).

 

The last several years it has been filled with scams, wannabes, and dead ends. Funny, someone down the street from me listed as a publisher a couple years back in SM. I had to laugh when he was giving advice to songwriters. This man had no capability what-so-ever in getting songs cut. He just wanted to play the big shot.

 

I imagine there are some of the Independent type honest listings yet, if you could figure a way to filter out all the garbage.

 

Best, John:cool:

[artmuns]

Hi Folks,

 

I've been getting a great response to our new site www.musiclibraryreport.com. Thanks to everyone for their comments and suggestions. We now have about 115 music libraries up there for you to comment on and rate. You don't need to use your real name or e-mail when commenting if you would like to remain anonymous. I'm hoping the site will help all of us music creators when working with the various libraries. Knowledge is power and I believe peer review is a great way to build that knowledge.

 

Take care

 

Art Munson

www.musiclibraryreport.com

[Johnny-Boy]

Holy Cow! The list really grew in the last 24 hours. Look:

 

Abaco Production Music...

AirCraft Music Library

Allstar Library

Amusicom

APM

Audio Network Producti...

Audio Socket Music

Audiobag

AudioFormula

AudioMicro

AudioSparx

B&H Gold Production Mu...

Beatpick

BeatSuite

Beyond Music Library

Blish

BMG Zomba Production M...

Buyout Music Tracks

Canary Music

Carlin Music

Chris Worth Productions

Composer Collective

Contempo Music

Crank City

Crucial Music

CSS Music

D2 Music

Davenport Music Library

Deadly Dreams Music

DeWolfe Music

Dittybase

DL Music

Elasticmusic

ExtremeMusic

Feature Sounds

Fields Music

FirstCom

Flying Hands

Freeplay Music

Fresh Music

GBA Music

Gene Michael Productio...

iamusic

IB Audio

Immediate Music

Indie Cues Music

indie911

InDigi Music

Instant Download Music

JULIA JOHN MUSIC

Killer Tracks

KPM

Labelsound

Lazertrax

LicenseMusic

Magnatune

Manchester Music

Manhattan Production M...

Media Music Now

Metro Music Production...

Music 2 Hues

Music Dealers

Music Licensing of Hol...

MusicLoops

MusicSupervisor.com

Musync

MyMusicSource

Neosounds

Net Music Library

Non Stop Music

Omnimusic

Opus 1 Music Library

Opuzz

Partners in Rhyme

Premium Beat

Producer's Tool Box

Production Garden

Productiontrax

Pump Audio

Q Music

Royalty-Free.tv

RoyaltyFreeMusic

RSM Production Music

Rumblefish

Scorekeeper Music

ScreenMusic Production...

shockwave-sound

Signature Music

Slick Tracks

SmartSound

SmashTrax

Song Catalog

Sound Dogs

Sound Ideas

Soundfile Productions

Stock 20

StockMusic

Studio Cutz Production...

SuperSound

SyncFree

The Music Kitchen

TRF Production Music

TunEdge Music

Uncommon Trax

Unique Tracks

Universal Music Produc...

Valentino Inc.

Videohelper

Westar Music

YookaMusic

YouLicense

[rlm297]

So, a band would first sign up for ASCAP and then contact all of those individual Music Library companies, going through the motions of filling out forms and submitting a CD to each?

 

Then if your music is used, by any broadcast.. they'd send you royalty checks and a breakdown of where your music was used?

 

Please answer this. Why wouldn't someone want to do this?

What exactly is "the catch"?

[RickGoetz]

I did an interview with the CEO of Crucial music recently. I hope you find it helpful.

[mgv1]

I just wanted to see if there's any opinion about the changed rate of Pump Audio's contract in terms of real impact:

 

it seems that the change from 50/50 to 35/65 has created a stir, but how much does it affect total income?

 

In other words, are the royalty payments the main thing where music libraries are concerned

 

- does anyone know what percentage of income from a song is from the licensing split vs the royalties over time?

 

If anyone has experience with this, any feedback is appreciated.

[Kramerguy]

 

Then if your music is used, by any broadcast.. they'd send you royalty checks and a breakdown of where your music was used? Please answer this. Why wouldn't someone want to do this? What exactly is "the catch"?

 

 

The catch(es) are:

 

- You need to have well-produced tracks, depending on the style of music (and pay for studio time)

- You also pay submission fees per month, or per song (taxi) for sending material into the library.

- There's no guarantee that your music will be accepted into the library

- You might not be good enough, and just throwing money at it won't change the outcome.

[gubu]

 

The catch(es) are: - You need to have well-produced tracks, depending on the style of music (and pay for studio time) - You also pay submission fees per month, or per song (taxi) for sending material into the library. - There's no guarantee that your music will be accepted into the library - You might not be good enough, and just throwing money at it won't change the outcome.

 

 

Also, you have no control over how your music is used, so you could, for instance, find your music used on a tv ad campaign for your most hated political party. I'm not saying it's ever happened, but it might....

[Johnny-Boy]

 

So, a band would first sign up for ASCAP and then contact all of those individual Music Library companies, going through the motions of filling out forms and submitting a CD to each? Then if your music is used, by any broadcast.. they'd send you royalty checks and a breakdown of where your music was used? Please answer this. Why wouldn't someone want to do this? What exactly is "the catch"?

 

 

No catch Rim! Not only PRO royalties but usually 50% of the licensing fees you'll receive.

 

Wow, this post is rather old. Sorry we waited so long to give you an answer.

 

This post came up with a search for future retitling issues with your PRO's.

 

John:cool: