OMG Music Libraries Are Stealing Our Money!

OMG Music Libraries Are Stealing Our Money!



These Music Libraries making money from our music. Can you believe that?

How dare they allow us to use their data base, piggy back off their traffic, handle cue sheets, collect royalties, disburse payments and then take a cut from our profits (sync/publishing).

They should all die of gonorrhea and rot in hell – Always wanted to say that (Ace Ventura Pet Detective).


No, I don’t didn’t read their terms, I just want to get my music in film.”


“Yes, I read the terms but I don’t know what they mean and I’m too lazy to figure out what they mean.”

That’s what 70% of my email list told me. If you don’t understand something you need to find someone who does or do the research before you just start signing contracts and agreeing to terms.

No one is robbing, cheating or swindling you out of anything (granted it happens) and I doubt they put a gun to your head making you accept their terms.

If the terms don’t fit your business model… Then simply move on!


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34 thoughts on “OMG Music Libraries Are Stealing Our Money!

  1. Agree completely, Greg. I represent both composers and some music libraries. The library route isn’t right for everyone. But if you choose to do it, either read the fine print, or ask questions of someone before signing up, or shut up and eat what you put on your own plate.

  2. I actually don’t remember what I posted Bro. I know it was in defense for a few of my friends who looked to it the other way around where they had coughed up in upwards of $7,000 for their equipment and in fairness all they were asking was for their musical creations to be recognized “financially” with rewards of earning their money back for the equipment they bought. You have an excellent point as far as music producers getting into a contract with knowledge of the terms & conditions however.

  3. Nice video and great comments.
    On our site at we represent 135 composers in our non-exclusive library. I’ve only had one composer ask the naive types of questions your viewers appear to be asking you regarding music libraries. These newbies to the online music distribution world have no clue what it takes to run and promote an online music library. The server costs, the programmers, the marketing, the customer service, bank fees, paypal fees, server security, accounting, SEO services, etc, etc.
    And you are completely correct in your statement that they would not have the money to complain about in the first place had the library not licensed their music for them. 100% of nothing is still nothing.
    I think you did a good job getting your point across that these composers need to pull their collective heads out of the sand and join the modern world of music licensing.
    Keep up the good work.
    Mark Lewis, CEO/Founder
    Partners In Rhyme Inc

    1. I agree with you completely. I’m a former R&R guy from the “old” days> After I came off the road I pursued a career in fine art, where I became pretty well known, so my “expertise” in dealing with the business side of the fine art publishing/licensing business is extensive.
      Publishing, licensing, and marketing in ANY business, be it fine art, music, or whatever, works the same way. Unfortunately, artists are the most clueless when it comes to how expensive it is and how it all works.
      Unless you star-wannabes want to lay out THOUSAND$ in marketing, advertising, overhead, as well as valuable TIME (taken away from creating the product) you need to realize that there are real people on the other side working as hard as you to make it happen for themselves & YOU as well. Without the art, they don’t exist of course, but without THEM, neither do the artists, plain and simple.
      I KNOW this from experience as a young, naive, “know it all” fine artist who thought he could do it all. To Some extent, I did, but it cost me many $1,000s and a LOT of valuable non-creative time doing so.
      So, get the stupid notion out of your head(s) that someone else is supposed to work for YOU for little or nothing, especially when YOU would be insulted if asked to do the same.
      Concentrate on creating, not just good material, but GREAT material. Make the best marketing connections you can (do lots of DD) and put it out there. Believe me, if your material is good enough, eventually, THEY will be coming to YOU. Again, I know this from my fine art experiences in the publishing world.
      My fine art:
      A sample of my music with paintings in video:
      More recently, I decided to dust off my music instruments, picked up some digital recording software, and am writing and recording once again.

    2. Mark,
      thanks for the kind words. I believe in order to have a good argument, you must look at both sides of coin and most don’t, they just want to accuse everyone for their down falls or when things aren’t going in their favor.
      And you’re right 100% of nothing is still nothing!

  4. Very informative and insightful thank you. I very much would love 30 or 40 percent of something rather than 100 percent of nothing.

  5. Greg, this is a great video. I agree with you, but a lot people don’t have the funds to hire a lawyer to review these contracts. I feel the companies know this and are taking advantage of those specific individuals.

    1. Thanks an interesting take on the matter, but you have to think. If you into any business, why wouldn’t you hire a lawyer? Or at least ask questions regarding the terms and conditions.
      The ignorance of man is not the fault of the company

  6. thanks! QUESTION..! any tips on how to determine what kind of external harddrive to back up my ableton daw and it’s files etc? how to choose an external harddrive ?! thanks!

  7. This is great advice Greg. I wish this site were up when I got into licensing. Keep up the good work.
    Ps – Is there a reason why you haven’t jumped on the BroadJam wagon or have you just not gotten around to it?

    1. Hi Natalie,
      I have nothing against BroadJam, I just don’t like paying for services that require you to submit music. That’s a huge wheel spinner and I don’t enjoy spinning my wheels.

  8. Great video, very informative and i do believe that music libraries or anyone that provide a service should be paid. Certainly i am happy if i am paid 30 to 40 percentage each time for my work than to have 100 percentage of nothing.

  9. My problem is not with them making you and themselves money, mine is when these companies want to negate their legal responsibility for paying you at least the statutorily allowed amount of royalties that might be generated from the use of your creation. It’s NOT ok to sign your rights away to ANYONE for them to make money of your music but NOT pay you!? That’s BAD business (for us artists, GREAT business for these media giants)…
    But, I’m with ya… I’ll take 42% of something over %100 nothing! Love the insight Greg!

      1. I’m not sure if anyone is being robbed but for instance, I received a very flattering “Licensing Agreement” via a company that was offering promotional consideration… As I reviewed the offer it became apparent to me that if my works were chosen to be utilized for what ever reason they’d like, I would receive no compensation for such use. Neither up-front or by collection of my PRO affiliation.
        I replied how thankful I was for the opportunity, and for it, I obviously didn’t expect them to pay me a fee but did ask for the ability to collect royalties generated from airing.
        They in return refused any negotiation of changing from their “standard” drafted contract. I forwarded it to my lawyer and his reply was (monetarily) “whats in it for you” and those were my thoughts exactly.
        I’m with you, I’ll take a % of something over a entirety of nothing, but to not receive anything from something!? I just try to consider things a two way street, and I know there’s a TON of artists and only 6 major broadcast conglomerates but they still need quality, marketable music from hardworking reliable and interesting content creators…
        I look forward to building relationships with both the companies and such artists while maintaining an ethical approach to transactions.

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