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Looking for new Composers

EvoMediaMusic

New Member
Hi Everyone,

New to the forum as a company, but myself and a number of other team members post here under our own accounts.

We’re on a mission to find great new composers to work with…

Currently we work with a core group of composers who have helped us to release over 70 albums, ranging from Epic Orchestral all the way to Reggae and EDM. We’re now looking to expand this pool of talent, to find new voices, and to create exciting new albums going in to 2019.

We are a UK based company but work with composers globally. We have writers in Hong Kong, South Korea, Australia, the USA, Germany, and more. As a library we also have a global sub publishing network and work closely with our main partner BMG.

If you’re interested in having a chat with us, we would love to hear from you. You can email us at production@evolutionmediamusic.com

Also, if you’re in London on the 14th of December, we are having an end of year party that we would love to see some new faces at. Please drop us an email if you’re interested in coming.


All the best

Evo - Tolga, Josh, Dave, and Simeon
www.evolutionmediamusic.com
 

sourcefor

Active Member
Hey guys..very Interesting ! Is this exclusive or Non-exclusive licensing? Thanks and best of Luck!
 

Fredeke

Active Member
Hi. You have an impressive client list.

I'm still learning the market so... How would you say your conditions compare to those of non-exclusive music libraries ? (I don't expect you to discuss details here, but maybe a ballpark figure?)
 

AKMusic

AKMusic Productions
Hi. You have an impressive client list.

I'm still learning the market so... How would you say your conditions compare to those of non-exclusive music libraries ? (I don't expect you to discuss details here, but maybe a ballpark figure?)
That's not how it works (hence the no reply)... there's also no such thing as a "ballpark figure". You write music at an elite level (because competition is fierce) and you submit to music libraries (the good ones, do your research), then you repeat that until you have established a catalog of EXCELLENT compositions numbering around one thousand-or-so, this way your Performing Rights Organization (PRO) can then collect and distribute your royalties to you... first year you can expect $0 to $100 and then you work your way up from there but it'll depend on how much QUALITY music you can write QUICKLY... because time flies and other composers can compose quickly. For information on licensing you can go here.
 

Fredeke

Active Member
That's not how it works (hence the no reply)... there's also no such thing as a "ballpark figure". You write music at an elite level (because competition is fierce) and you submit to music libraries (the good ones, do your research), then you repeat that until you have established a catalog of EXCELLENT compositions numbering around one thousand-or-so, this way your Performing Rights Organization (PRO) can then collect and distribute your royalties to you... first year you can expect $0 to $100 and then you work your way up from there but it'll depend on how much QUALITY music you can write QUICKLY... because time flies and other composers can compose quickly. For information on licensing you can go here.
Thanks for the link. It's very informative and also what I was looking for.
 

Ned Bouhalassa

Senior Member
That's not how it works (hence the no reply)... there's also no such thing as a "ballpark figure". You write music at an elite level (because competition is fierce) and you submit to music libraries (the good ones, do your research), then you repeat that until you have established a catalog of EXCELLENT compositions numbering around one thousand-or-so, this way your Performing Rights Organization (PRO) can then collect and distribute your royalties to you... first year you can expect $0 to $100 and then you work your way up from there but it'll depend on how much QUALITY music you can write QUICKLY... because time flies and other composers can compose quickly. For information on licensing you can go here.
One thousand EXCELLENT compositions. Please define ‘excellent’.
 

Consona

Senior Member
John Williams writes 2 minutes of music a day. I'd bet his 2 minutes of a random music exercise are way better than anything we compose when trying hard. And I don't know how many people compose every day like that. And is even 2 minutes of music "a composition"? Etc, etc.

tldr: A very good composer can produce maybe one quasi-excellent proper composition a week, maybe. That's 52 a year, maybe, that's 19 years to get to that goal. Not bad. :roflmao:

Either that's a typo, or terms "elite level", "excellent" and "thousand" mean something very different than some of us are used to. :grin:
 

VinRice

... i am a robot ...
A little bit of hyperbole going on here, but not much. You are looking at hundreds of tracks and probably ten years before you can actually make a living doing library exclusively. 'Excellent' meaning correctly formatted, professionally produced, musical, original, unique but genre-accurate. You know, good music.
Its a numbers game like photography, sports, or acting or whatever. Most people make nothing to very little, some make a living and a few make millions. The libraries themselves do just fine.
 

ed buller

Senior Member
It's all about the music getting used. And how much of it. If you write 100 tracks in a year and they are average 2 mins in length. And 5 of them get used and then only 16 sec's of each...and then in a show that airs only once a year and then they only pay 6$ a minute....well.........it can take along time.

So the first thing is. What are you writing ? Is it going to get used a lot. Is it going into a Library that gets placements. Is it international placements ( ie a show that airs over many territories , and are they places that actually pay !!!! ). Is the back end for that network good. They vary a lot. MTV is 29$ a min peak. Investigation Discovery is 3$....big diff. Is it a show that has a lot of repeats. My buddy make's about a million plus a year. 80% from one show that's on all the time. Literately 24/7....But remember once you write a piece of music and give it to them it's theirs for ever...............so if they are crap at placements look elsewhere. And only EVER agree to 50/50 split you get 100% of writers they get 100% of publishing...........Don't give em any writers....

and as sad as it is to admit...........that epic JW track you wrote will earn you pennies compared to the drone you did in 5 mins. I have a friend who wrote the worlds highest earning drone....it's in everything !!!!. The biggest check I got last year for a single piece of music was for something I literally wrote for a friend as a favor...I was just heading out for lunch..."hey ed...we are one track down on this compilation I am working on...can you give me something lite and uptempo in an hour...tops?"...two years later 15K arrived one afternoon........so it's all about..."luck.......quality...type....luck....placements.....luck.......sonic style ...........luck....ease of use ( are there loads of stems and stingers...bumps and logical edits?.....and did I say luck?........


My friend with the large show has been doing this for fifteen years. He has written about 14000 tracks........and has had placements in about 16 shows....some earned him pennies....but just one earns him 700k a year ....every year......(and is in it's 18th Season) so did I say Luck ??

just write...write .....write...every day. a lot...get quick...very quick...I'm up to 6 tracks a day....but I know people who can do 12......sort out your templates. Have a system. Don't fuss over each sound or track. Don't be clever, 4/4 one key !!!!!! and make it have a purpose. Imagine what it's for as you write it. And write and produce and mix all in one go..with mastering plug ins already in !!!....give yourself two hours. "I'll write a tension drama cue . 2 mins long. With a sequencer bed and high string sounds and big perc hits with a build to huge end.

Then print all the most obvious variations. No Perc/ Just Perc/ No Bass/ Just Bass / High strings out / ...is there a stinger ? no WRITE ONE QUICKLY !!!. Make it all idiot prof. Ask them how they want the files labeled ...and PAY ATTENTION TO LABELING !!!!!. ( this is so un-glamours but vital...I had a truly awful moment on a big film a few years ago because my labeling wasn't up to speed............you are just creating problems for somebody else, who would also dearly love to go home as it's three in the morning , but they can't, because THEY HAVE TO FIX YOUR FUCKING INCOMPETENT LAZY ASS LABELING !!!!) Get the format right 48k ? do they want an edit too ( don't wait to be asked give em 2!.... 30 secs and 15.

Be the fastest most easy going useful mother they have ever ever dealt with..............NOTHING is too much trouble...............enthuse about everything they want ................"More Electronic Trap Comedy Polka ?"......"LOVE TO !!!!!!"


and remember.............be lucky !..and perhaps ...you'll make money...that will build...year upon year....until.......you just stop worrying.


best

ed
 
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asherpope

Member
It's all about the music getting used. And how much of it. If you write 100 tracks in a year and they are average 2 mins in length. And 5 of them get used and then only 16 sec's of each...and then in a show that airs only once a year and then they only pay 6$ a minute....well.........it can take along time.

So the first thing is. What are you writing ? Is it going to get used a lot. Is it going into a Library that gets placements. Is it international placements ( ie a show that airs over many territories , and are they places that actually pay !!!! ). Is the back end for that network good. They vary a lot. MTV is 29$ a min peak. Investigation Discovery is 3$....big diff. Is it a show that has a lot of repeats. My buddy make's about a million plus a year. 80% from one show that's on all the time. Literately 24/7....But remember once you write a piece of music and give it to them it's theirs for ever...............so if they are crap at placements look elsewhere. And only EVER agree to 50/50 split you get 100% of writers they get 100% of publishing...........Don't give em any writers....

and as sad as it is to admit...........that epic JW track you wrote will earn you pennies compared to the drone you did in 5 mins. I have a friend who wrote the worlds highest earning drone....it's in everything !!!!. The biggest check I got last year for a single piece of music was for something I literally wrote for a friend as a favor...I was just heading out for lunch..."hey ed...we are one track down on this compilation I am working on...can you give me something lite and uptempo in an hour...tops?"...two years later 15K arrived one afternoon........so it's all about..."luck.......quality...type....luck....placements.....luck.......sonic style ...........luck....ease of use ( are there loads of stems and stingers...bumps and logical edits?.....and did I say luck?........


My friend with the large show has been doing this for fifteen years. He has written about 14000 tracks........and has had placements in about 16 shows....some earned him pennies....but just one earns him 700k a year ....every year......(and is in it's 18th Season) so did I say Luck ??

just write...write .....write...every day. a lot...get quick...very quick...I'm up to 6 tracks a day....but I know people who can do 12......sort out your templates. Have a system. Don't fuss over each sound or track. Don't be clever, 4/4 one key !!!!!! and make it have a purpose. Imagine what it's for as you write it. And write and produce and mix all in one go..with mastering plug ins already in !!!....give yourself two hours. "I'll write a tension drama cue . 2 mins long. With a sequencer bed and high string sounds and big perc hits with a build to huge end.

Then print all the most obvious variations. No Perc/ Just Perc/ No Bass/ Just Bass / High strings out / ...is there a stinger ? no WRITE ONE QUICKLY !!!. Make it all idiot prof. Ask them how they want the files labeled ...and PAY ATTENTION TO LABELING !!!!!. ( this is so un-glamours but vital...I had a truly awful moment on a big film a few years ago because my labeling wasn't up to speed............you are just creating problems for somebody else, who would also dearly love to go home as it's three in the morning , but they can't, because THEY HAVE TO FIX YOUR FUCKING INCOMPETENT LAZY ASS LABELING !!!!) Get the format right 48k ? do they want an edit too ( don't wait to be asked give em 2!.... 30 secs and 15.

Be the fastest most easy going useful mother they have ever ever dealt with..............NOTHING is too much trouble...............enthuse about everything they want ................"More Electronic Trap Comedy Polka ?"......"LOVE TO !!!!!!"


and remember.............be lucky !..and perhaps ...you'll make money...that will build...year upon year....until.......you just stop worrying.


best

ed
I gotta print this out! Brilliant advice
 

YuHirà

Member
.I'm up to 6 tracks a day....but I know people who can do 12......sort out your templates. Have a system. Don't fuss over each sound or track. Don't be clever, 4/4 one key !!!!!! and make it have a purpose. Imagine what it's for as you write it. And write and produce and mix all in one go..with mastering plug ins already in !!!....give yourself two hours. "I'll write a tension drama cue . 2 mins long. With a sequencer bed and high string sounds and big perc hits with a build to huge end.
It sounds like one of the scariest things I could do for a living :-D

As you are far more experienced than me, I believe you. But I'm really surprised because I don't experience the same thing at all!

Like a lot of people here, I'm lucky enough to live from library music (it's my main source of incomes at this time) and I only compose about 30-40 tracks a year for this industry. A lot of friends of mine who live far more better than me has worked at the same pace... but for a few years more than me.

I don't know how it works in the US. I'm ready to believe that it's the only way to work in this field in North America. Maybe the rate of rejections is far higher?

But if I had to compose more than one track a day for library music (it's completely different IMHO for film music), even if I had to compose drones to achieve this goal, I'm pretty sure I would become completely dry and depressed after a few months.

Of course, I know that you are right about the lucky side of things and the fact that often, you get very big incomes from a track you composed within just two hours (it happened to me). Your message provides a lot of very good advices.

But when I compose library music, I need to take the time to do my research, to polish my tracks and try to make something different and valuable. I consider it as an art in itself, not only a source of income. Of course, it's not easy at all, I wouldn't say at all that my music is better than anyone else's, but I have the feeling that it works for a lot of friends of mine in my country, as it seems to work for me.

Therefore, I'm not sure composing 6 tracks a day is the only way to live from library music but of course, maybe I'm wrong.

NB: I do not rule out the possibility that I didn't understand what you meant. In this case, please accept my apologies.
 
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ed buller

Senior Member
well it does depend on what your writing of course. But most of my income comes from reality TV shows at the moment. And a minute of music in that pays very well. About 3K a year. The tracks I submit are about 1-2 mins long. They involve beats and grooves and samples. All different types. But mainly urban and hip hop . But also short action orchestral cues too. I need to supply about 1000 tracks a year. I don't get paid. Only back-end...so if they don't get used I starve !. The editors have no patience. They play a sec of each until they find what they want. And i'm competing against a lot of other sources. I do know people who make a living from writing a couple of albums a year ( 12-24 tracks ). But they have been doing it a long time ( 15-20 years ) and have a great track record and lot's of clients. but they have seen a drop over the years because the amount of stuff out there is enormous. So for me it's all about volume. the shows I write for don't want to use the same cue over and over. And there's 30 episodes a season and 45 mins of music in each (1350 in total, that works out at about 1000 separate bit's of music )...so I need to be fast !

best

ed
 
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YuHirà

Member
Thank you for your reply. It's a very interesting conversation!

Indeed, it seems that we live a different situation. I mainly write orchestral music, and my main publisher often record the tracks with live musicians.

I have to confess that I'm very happy not to have to compose 1000 tracks a year at this time but I can't be sure either that my situation will be bearable on the long run: a friend of mine who has worked in this industry for 15-20 years making about 2.5 albums a year told me the same thing about the drop over the years.
 

ProtectedRights

Active Member
Hi Everyone,

New to the forum as a company, but myself and a number of other team members post here under our own accounts.

We’re on a mission to find great new composers to work with…

Currently we work with a core group of composers who have helped us to release over 70 albums, ranging from Epic Orchestral all the way to Reggae and EDM. We’re now looking to expand this pool of talent, to find new voices, and to create exciting new albums going in to 2019.

We are a UK based company but work with composers globally. We have writers in Hong Kong, South Korea, Australia, the USA, Germany, and more. As a library we also have a global sub publishing network and work closely with our main partner BMG.

If you’re interested in having a chat with us, we would love to hear from you. You can email us at production@evolutionmediamusic.com

Also, if you’re in London on the 14th of December, we are having an end of year party that we would love to see some new faces at. Please drop us an email if you’re interested in coming.


All the best

Evo - Tolga, Josh, Dave, and Simeon
www.evolutionmediamusic.com
Hey, thanks for the info!

Some feedback on the website:
I listened into a few albums and found the stereo width very wide, often too wide. E.g. the Drama Underscores album, but also others.
And in the album overview, the animation when you hover over an album is too slow here, I have to wait a second till I can press the title and get to the album contents.
 
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