Every serious producer or sound professional editor in the industry
knows of the available libraries. There are dozens compiled and
uncompiled. Among them Disney, Universal, WB, Soundelux (Animal
Trax), LucasFilm, to name a few. Some of these are compiled by groups
such as Sound Ideas (Canada). Still, the best editors know that many
of the gems lie with the individual recordists, who've taken the time
to do their field work with a degree of excellence and variety not
often prevalent in the more commercial libraries. That's why the come
to some of us in the first place. Otherwise they'd stick to the
commercial libraries where they can get a whole collection of sounds
for a mere $450.00. One site on the internet we were looking at
yesterday has six CDs with over 6 hrs of material for $35.00 with an
unlimited license to use. There's no recordist listed and when we
asked, they responded with a name that we've never heard of and
cannot be Googled. Go figure.
For that reason, alone, we've withheld our library from the
commercial compilations precisely because it devalues the material.
And we won't do that. That's because it is our livelihood and we want
to maintain the integrity of what is there w/o having it diluted.
We're willing to take the chance that what we have can be obtained
for a nickel elsewhere.
Bernie
>On Jan 14, 2007, at 1:03 PM, John Hartog wrote:
>
>> "A permission for a single project is not helpful for me. I would like
>> to add the records to my personal sound library and therefore need the
>> permission to use it in any film, I will work on. By the way, that's
>> how commercial sound libraries e.g. "Sound Ideas" handle it: You buy
>> the CDs and you get the permission to use it in any synchronized
>> project."
>
>John,
>
>Your correspondent is correct in that there are a number of sound
>effects and music libraries that are licensed on a buy-out basis. That
>means that a one-time price is negotiated that provides indefinite
>non-exclusive license to use the sounds for certain purposes. However,
>there is generally a royalty attached to certain other uses, such as
>broadcast. This works when the sounds are fairly generic, but is
>generally not applied to higher level work.
>
>Some libraries are licensed on a "needle-drop" basis. That simply means
>that a payment is required for each licensed use.
>
>Most sound (especially music) is licensed on a case-by-case basis,
>especially when film is involved. The best work commands a pretty hefty
>payment.
>
>It looks like your correspondent is looking for a licensing arrangement
>that permits him a certain level of convenience in use. If you are
>interested in working that way, one popular buy-out licensing model is
>used by Studio Cutz:
>http://www.studiocutz.com
>
>It is up to you whether you want to do it this way, and it is certainly
>up to you how much you would want to charge. You might want to audition
>the Studio Cutz offerings (available for free, online) and compare it
>with your work. Try to assess whether they are in the same league with
>yours, or whether yours is worth more. [That can be a bit tricky,
>though, because they only offer music.]
>
>But never sell your work short!
>
>Ed
>
>
>
>"Microphones are not ears,
>Loudspeakers are not birds,
>A listening room is not nature."
>Klas Strandberg
>Yahoo! Groups Links
>
>
>
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P. O. Box 536
Glen Ellen, CA 95442
t. 707-996-6677
f. 707-996-0280
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