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Has anyone had any experience with the Film Music Network? ( http://www.filmmusic.net/ ) If you sign-up you get email notification of new composing opportunities. For $7.00 you can upload a sample of your music, I assume to be evaluated by the people who posted the job listing. If you become a member--I think it was around $100/year--it costs only $2 per upload. You can upload up to 10 songs per listing.

I've joined and submitted samples to several different listings, but I haven't heard anything about any of the music I submitted. This doesn't really surprise me, since I figure if I get 1 job out of every hundred or so I apply for I'll be lucky. But it does get me wondering if the producers working on these projects ever really hear anything that the members submit. Could it be that the people running this site are just scanning industry newsletters or whatever and copying ads to this website and that the music I submit goes immediately into their server's recycle bin? Has anyone ever gotten any work through the film music network? What do you know about this group?

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Well, I'm 52 years old and have just recently decided to pursue composing seriously, having put this dream on hold for the past 20 years in order to raise a family. I live in Potsdam, NY, which is about 20 minutes from the Canadian border and 6 1/2 hours from NYC. I'm seriously isolated, have little hope of personally developing contacts in the industry, and know very little about the technological changes in the industry over the past 20 years. And the clock is ticking. For $100, it seemed like a quick way to get my music to different people and hopefully get a little feedback, something along the lines of "Thanks for your submission, but we're looking for something a little bit brighter and more uptempo."

I guess I was naive to expect feedback, but I'm new to the field and have no idea of how things actually work. Now I'm beginning to think that with film scoring, the quality of the composition isn't nearly as important as the quality of production, which is not my strength. So I'm not particularly hopeful that my original investment will ever pay off, but at $2 a pop I'll probably continue to send off a few files every now and then anyway. Any money I lose to the Film Music Network will be peanuts compared to what I lost to my mutual funds.
Hi Glenn,
We are pretty much in the same boat, though I am 30 years younger than you ;-) I don't know that particular site, but there are lots of sites, fueled by people's hopes and and dreams. It is disgusting making a business like that. It is impossible to say on beforehand whether the individual site is scam or real. I haven't tried one out yet. I think http://www.TAXI.com is pretty good, but I have no experience. It cost $300/year as far as I remember, so it's quite prizy.. Not all are satisfied with Taxi though, so it could too be money out the window.

I would recommend to check the internet before signing up to any paysites. I have saved my butt a couple of times by writing the name of the site in google's search field plus the word scam. Like this: http://www.google.dk/search?hl=da&q=%22filmmusic.net%22+scam&am...

Otherwise try to send mails or emails with demo CDs to the production companies. Totally old school ;-)

Good luck :-)

Alex
I have some experience with www.sonicbids.com. This is certainly not a scam, although they do not guarantee a contact or a feedback from every listing. They helped me to establish some interesting connections. They even ask my (their client) opinion about the fidelity of the contacts they provide. Another site of this kind (www.pumpaudio.com) seems to be a scam.
I don't know anything about this particular group, but it's the "vultures" in this business that annoy me (and there are many). I recently applied for copyright registrations of several songs (not the first time I've done this, but the last time I did was prior to the world wide web). After those applications the vultures came out of the woodwork to say that they could help me to get paid.

As you said in the discussion about TCC, the music industry is a business and in business those who hustle (for themselves) have a better chance of succeeding and seeing decent returns for their efforts. That's my two cents' worth.
In the past few years I've submitted (I'm not a member) for several projects. I've only heard back about 1 and it's still up in the air. I wish I had an exact number on the submission I made...sorry. But it is quite a few. I think they are probably legit. I just wish there was some sort of feedback even if the music isn't accepted....like Taxi for instance (not looking to start a discussion about Taxi ;)
I have gotten an occasional form message from FMN saying that so and so has listened to my music. My guess is it goes out automatically when the producer downloads the clip. But I've never been contacted by a producer before, so you're one step up on me.
I think your observations are very correct. To be a working film score composer you must be able to not only write musc, but also produce the final product yourself including all orchestration, mixing, mastering, digital realizations. And if you seriously want to pursue scoring film (as opposed to placing music in films or doing other types of composition) you really need to be in LA. Directors that you meet and hang out with, that you go to the beach with or have coffee with on sunday, or whatnot, those are the folks that are going to hire you. I hate to sound pessimistic, and the caveat of my words is that there is always a chance in any situation. But pragmatically speaking, you will have more success getting pop music placed in films remotely. But doing the dramatic underscore without being in LA (or in the very least a major city) and without the studio and skills to deliver final product directly is going to be extremely difficult. Also consider that today's market the writing of music is not a major factor in film music. The understanding of how to massage the picture, as its own art and having little to do with actual composition, and the ability to deliver master quality recordings in ultra short timelines is how the industry works. By no means would I suggest to throw in the towel, but understand what the current industry expects of you, and then adapt to meet its expectations. In your case of living in Potsdam, if you want to make a career via the internet, I would suggest focusing not on film score but on music placement and advertising music, try and write hundreds ot spots for production music libraries and get them out there without getting ripped off. You sound pretty close to Montreal, so you might consider trying to get involved there. But really I think 90% of movies come out of LA where they want you to be there as the score composer, the rest you will need to be at the location that the film is being produced. And most all of TV uses music from libraries today.

If you are stuck in Potsdam and really are only interested in orchestral film score music, then I honestly think you need to forget about money and just write because its fun and keep it a hobby. Of course there is no reason to not submit, you might get some placement some way, but I think its like winning the lottery, at least for the film score portion

I will say that the Film Music folks are solid and good people. Mark Northam is a person that is genuinely interested in the well being and furtherment of composers everywhere. That type of pay for audition service is never going to be more than a shot in the dark because there are tons of folks competing there also, but you never know. I still submit to some stuff once in a while. At least with the FMN stuff, you know its a real job as Mark has staff peopel that screen them and actively go find jobs to post there
I dont understand Deborah. Did you file your copyright at the loc.gov website? or use some 3rd party? I never had people come out of the woodwork approaching me when I file. But I always do it directly with the library of congress. As they support online filing finally, there is no reason to use a 3rd party like official software or whatnot
sorry, I have been there... it's little bit expansiive for me: 120 USD per year...hmm.. and no ceartain I sell anything from my hard job..
Yes, I've had "Song Sharks" contact me as a result of my copyright registrations at the LOC. The LOC records are public. I deal directly with the LOC. No 3rd parties.

It always seems to be a vanity recording company offering to record my songs (for a fee). They promise to send them to radio stations. Kind of like those offers you get to have your name listed in the "Who's Who" books.

I had one guy who said he was Richard Nixon's literary agent. He offered to read my "book" for a fee. He didn't even take the time to see it was not a book I had registered. It was music.

I sent one company a joke "Rap Song". It was for Contrabass Clarinet with a time signature of 32/16.
I have been a member and submitted music to FMN for a few years now. I have attended their industry seminars, and met some of the people behind the operation. While the site is "legit", paying a fee to submit work does not do much for morale. Most composing work I've ever gotten has come from personal relationships. I will say, however, that I have been contacted by actual producers and music libraries based on music that I submitted via FMN. So it can work. Quality production definitely helps; and it doesn't necessarily take fancy, expensive equipment, although that helps too. But I think if you start on a small scale arrangement-wise, and make the most with what you have, you stand a better chance. There are a lot of commercials and web sites that use really simple, catchy music. Go to sites that sell production music and listen to/watch the demos of clips that have actually been used in commercials or film. Remote Control Productions (http://www.hans-zimmer.com/fr/newsite.php?rub=rcprod) features a lot of composers that write for all different mediums. Read forums on audio and digital production, mixing, mastering, etc. And from there use your ears. You can do a lot from a bedroom studio. Good luck.

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