Latest / 52 Cues - A Production Music and Sync Podcast / A Library Wants My Cue! What Now?

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A Library Wants My Cue! What Now? · 52 Cues - A Production Music and Sync Podcast

• 0:30
  Dave Kropf: for the majority of your cues, it's going to be a while before you see the return on the investment of time and gear and plugins.
• 0:40
  Dave Kropf: And so I think year two and three of this journey, like the first five years of your career, years two and three can be pretty brutal because you're not seeing the return.
• 0:53
  Dave Kropf: You're not seeing the royalties snowball like we all talk about.
• 0:57
  Dave Kropf: It's going to happen.
• 0:57
  Dave Kropf: You're expected to keep banging out cues, what is happening, everybody, and welcome back to another episode of the 52 Cues podcast, your weekly insight into all things production and library music.
• 1:22
  Dave Kropf: Whether you're simply curious about the sync industry or learning to write better cues, or maybe you're ready to pitch to publishers, I promise you you are in the right place.
• 1:32
  Dave Kropf: My name is Dave Kropf and it is so good to be with you today.
• 1:35
  Dave Kropf: And if you find this video helpful, then why don't you give it a thumbs up here on YouTube and a five star review in your podcast app?
• 1:42
  Dave Kropf: And please be sure to subscribe, because I talk about library music all the time.
• 1:46
  Dave Kropf: Today's episode wouldn't be possible without the incredible support of our member subscribers at 52 Cues, who not only keep our community alive and thriving, but as members they get access to extra bonus features like workshops, live streams, office hours, cue breakdowns, zoom feedback sessions, hundreds of hours of video archives and opportunities to submit to real music library.
• 2:11
  Dave Kropf: So maybe that's you and you're feeling stuck, or you're ready to finally take your sync career to the next level?
• 2:17
  Dave Kropf: Then head over to 52Cuescom.
• 2:20
  Dave Kropf: Thanks for you to join, and membership start at around four bucks a month.
• 2:24
  Dave Kropf: So you've written a cue, you've pitched the cue and you got the yes.
• 2:31
  Dave Kropf: The library got back to you and you're so excited.
• 2:34
  Dave Kropf: You probably remember where you were and all of that.
• 2:37
  Dave Kropf: I certainly remember where I was when I first heard from a library wanting my music.
• 2:43
  Dave Kropf: What happens next?
• 2:46
  Dave Kropf: What happens after they say yes?
• 2:48
  Dave Kropf: Well, there are a series of events, that kind of kick off once the library says yes, and often it can happen kind of all at once and it could, there could be a delay and it could take some time for some of them.
• 3:02
  Dave Kropf: So what I want to do today is just unpack the things to keep in mind and to kind of run down what happens after the library says yes, whether it's through taxi or whether it's a cold email or whatever.
• 3:17
  Dave Kropf: So the first thing you should do before you send any final files, any deliverables or whatever is get the paperwork done.
• 3:26
  Dave Kropf: I know that you might have relationships with some of these folks and you might have been working with them for a while, or the emails might be super friendly and super conversational, but at the end of the day, this is business and I think it's really important to get a contract done.
• 3:42
  Dave Kropf: And if you don't have a contract from a library, it's totally okay to ask for one, and we don't do the contracts because we're worried about a library stealing our music.
• 3:56
  Dave Kropf: I don't think any library who is doing this on any professional level is looking to do that.
• 4:01
  Dave Kropf: You know they're not going to be stealing your music.
• 4:04
  Dave Kropf: But what can often happens is during the ingestion process, the library might be working with hundreds of files and hundreds of composers and it's just really easy for things to kind of fall through the cracks.
• 4:17
  Dave Kropf: So being a little proactive on this is totally okay.
• 4:20
  Dave Kropf: So you do want to get the paperwork done.
• 4:23
  Dave Kropf: You do want to get some paperwork done, a contract that outlines a handful of things.
• 4:28
  Dave Kropf: First of all, what type of contract is it?
• 4:30
  Dave Kropf: Is it an exclusive contract or a non-exclusive contract?
• 4:35
  Dave Kropf: Exclusive means that your music can only be used and represented by that specific library, while non-exclusive agreements means that you can place the music in multiple libraries.
• 4:48
  Dave Kropf: But I will say content ID is making that more difficult and I am seeing the trend towards more exclusive contracts and more exclusive libraries in general, and I know there are folks out there who say don't ever sign to exclusive contracts.
• 5:08
  Dave Kropf: That has not been my experience.
• 5:09
  Dave Kropf: That has not been my experience.
• 5:11
  Dave Kropf: If you want to make real money, you're going to need to be dealing with libraries that get a lot of placements and I don't mean like stock music, like Pond 5 or Motion Array and those types of things.
• 5:26
  Dave Kropf: They get plenty of placements and those are non-exclusive and that's fine.
• 5:29
  Dave Kropf: That's it, the contracts out there doing real money.
• 5:35
  Dave Kropf: Most of them, those libraries are gonna want exclusive agreements and the technology is only reinforcing that.
• 5:43
  Dave Kropf: So you need to decide for yourself.
• 5:45
  Dave Kropf: Not every type of contract is right for everybody.
• 5:50
  Dave Kropf: For me, I think all of the libraries I work with except for one is exclusive, and even the one that I am non-exclusive or I have a non-exclusive deal with, they do control the placements and they've done their content ID registration and everything for me.
• 6:08
  Dave Kropf: So if I were to place that somewhere else and then they were to register.
• 6:11
  Dave Kropf: It just gets kind of complicated.
• 6:13
  Dave Kropf: So my experience is most libraries are moving towards exclusive agreement.
• 6:20
  Dave Kropf: The next thing you need to keep in mind with the contract is the terms of the contract, the duration of the agreement, where your music's going to be represented and the rights that are being granted to the library, like sync rights.
• 6:33
  Dave Kropf: Can they pair your music with visual media?
• 6:36
  Dave Kropf: Can they broadcast it on the radio?
• 6:38
  Dave Kropf: Is it going to go out to the DSPs, to Spotify and to Apple music?
• 6:46
  Dave Kropf: You just have to know that, and the contract will spell that out, along with revenue sharing, how revenues are split, how the royalties are split, who owns what part of the rights and copyrights all of that is spelled out.
• 7:03
  Dave Kropf: Now, exclusive versus non-exclusive these will vary wildly in my experience.
• 7:09
  Dave Kropf: Exclusive agreements they generally want to maintain the copyright.
• 7:15
  Dave Kropf: Now the contract will spell out writer share and publisher share and how it's all split up, and for the vast majority of these contracts you will be entitled to 100% of the writer share, unless you have a co-write.
• 7:29
  Dave Kropf: But that's not always the case and I've done episodes on why sometimes it's okay to give up part of your writer share.
• 7:35
  Dave Kropf: But understanding what rights you retain and the performance splits and the writer splits and publishing splits.
• 7:47
  Dave Kropf: That's all going to be outlined in the contract.
• 7:51
  Dave Kropf: So make sure that the contract does state that and if you have any questions about the contract, ask.
• 7:59
  Dave Kropf: I can't say this enough.
• 8:02
  Dave Kropf: If you have any questions about the contract, it's totally okay to ask.
• 8:06
  Dave Kropf: I know that you will probably feel unprofessional, but you're gonna feel more unprofessional if you sign something and then ask a question later and they say well, it was in the contract.
• 8:20
  Dave Kropf: If you don't understand something, ask.
• 8:23
  Dave Kropf: Thankfully, most of the contracts that I've run into haven't been overly like legalese and they're pretty easy to understand.
• 8:32
  Dave Kropf: But it's also a good idea to seek counsel.
• 8:34
  Dave Kropf: You know to seek legal help if you run into any problems or if you have any confusion, but every library I've worked with has been totally fine with questions I don't understand.
• 8:45
  Dave Kropf: Can you help me out?
• 8:46
  Dave Kropf: Please let me know and then they'll help you out.
• 8:50
  Dave Kropf: I promise you they're just humans on the other side and you are not coming off as unprofessional by asking a question.
• 8:58
  Dave Kropf: It's totally okay.
• 9:01
  Dave Kropf: The other thing that the contract will have is generally a schedule on the end of it which will outline the cues that are being signed and the length of the contract is there a reversion clause.
• 9:13
  Dave Kropf: These are also in the contract.
• 9:14
  Dave Kropf: That basically says that after a certain period of time or after a certain threshold, then the rights could shift.
• 9:23
  Dave Kropf: For example, I worked with one library and unless my cue made $1,000 in sync fees not royalties but in sync fees then I could request the cue back after a certain period of time.
• 9:37
  Dave Kropf: But once the cue made $1,000 in sync fees, then the library maintains the copyright.
• 9:44
  Dave Kropf: I still get my royalty share, but they own the copyright to that.
• 9:48
  Dave Kropf: So that's the first thing.
• 9:51
  Dave Kropf: Once they say yes, do not send any files until you get the paperwork done.
• 9:58
  Dave Kropf: The only exception to that would be if it's a library that you've worked with several times, that you have an ongoing relationship with and there's trust.
• 10:09
  Dave Kropf: But if it's brand new, if it was through a taxi brief or a cold email or something like that, don't send files until you get all the paperwork handled.
• 10:17
  Dave Kropf: That's the first thing.
• 10:19
  Dave Kropf: The second thing is the deliverables.
• 10:23
  Dave Kropf: Once they say yes and once the ink is dry on the contract, then you have to go into deliverable modes and these are all of the audio files and lots of details to balance here.
• 10:38
  Dave Kropf: You need to make sure that you understand what file format they want, what bit depth, what sample rates, the naming conventions, all of those things.
• 10:46
  Dave Kropf: You have to track those details.
• 10:49
  Dave Kropf: I mean that's going to make you look more unprofessional than asking questions, right?
• 10:55
  Dave Kropf: So, understanding what different mixes they need.
• 10:57
  Dave Kropf: Do they need stems?
• 10:59
  Dave Kropf: What's their target loudness?
• 11:00
  Dave Kropf: What do you need to provide them?
• 11:04
  Dave Kropf: What's their upload procedure look like?
• 11:06
  Dave Kropf: Do they want Google Drive links?
• 11:09
  Dave Kropf: Do they have a Dropbox portal?
• 11:10
  Dave Kropf: Maybe they have an FTP server or something.
• 11:13
  Dave Kropf: They might have a really fancy website that collects all the metadata and all of that and you have to just attach a file through a web browser.
• 11:22
  Dave Kropf: You just have to be super flexible and there's no industry standard here and every library it's going to be different and you just you just got to roll with it and track all of the details, because our job, when we are submitting these things, is to reduce the friction as much as possible for the library.
• 11:41
  Dave Kropf: So if you're sending up a file and let's say they ask you to include your name or your initials at the end of the audio file the actual file name itself but you don't because the previous library didn't ask for that, well, now you've created a friction point with that library and they have to go in and find your, your cues and they have to add your initials to the end of every.
• 12:08
  Dave Kropf: It can be really frustrating and as someone who has recently been getting into this side of the business, meaning publishing, and this is, you know, through the 52 cues briefing room.
• 12:21
  Dave Kropf: Just yesterday we took deliverables for a couple of different projects that are ongoing.
• 12:26
  Dave Kropf: We had 18 different composers submitting 49 different cues across three albums and hundreds of files.
• 12:34
  Dave Kropf: When one or two things aren't followed, it slows down the process.
• 12:39
  Dave Kropf: So instead of me kind of grabbing everything and shipping it off, now I have to kind of go in and one by one and make sure and copying and pasting names or or or, or IPI numbers or any of those types of things, and it just creates friction.
• 12:54
  Dave Kropf: Are they deal breaking friction points?
• 12:58
  Dave Kropf: Probably not especially early on, but you do it enough.
• 13:03
  Dave Kropf: And then suddenly, maybe the library Huh, maybe, maybe.
• 13:10
  Dave Kropf: Let me say it this way you don't want a grumpy music supervisor or a grumpy publisher handling your files.
• 13:18
  Dave Kropf: You just want to make it easy for them, because they are handling hundreds and hundreds and hundreds of files.
• 13:24
  Dave Kropf: So do them a favor, give them what they need in the format.
• 13:29
  Dave Kropf: They need naming conventions, all of that stuff and fill out your metadata.
• 13:36
  Dave Kropf: Most libraries will have some sort of metadata ingestion process.
• 13:41
  Dave Kropf: For me over at the briefing room here at 52 cues, I use a Google form and that Google form asks very specific questions that need to be formatted in a specific way because it is feeding a spreadsheet that I know that I can send over to the libraries we're working with and into the system that they use.
• 14:02
  Dave Kropf: So by filling out this Google form you're populating a spreadsheet that then gets transferred over into their catalog system, which is extremely meticulous, and if you miss an underscore or if something in the metadata spreadsheet doesn't line up with an actual file, it will create an error that now the library or the intern or me or whoever has to go and track down, creating friction.
• 14:31
  Dave Kropf: I've worked with some libraries where their metadata is a really sophisticated online portal.
• 14:39
  Dave Kropf: So it's one page.
• 14:41
  Dave Kropf: You're submitting all of the different alternate versions, the stems, the cut downs, alts, minus, mixes everything into this really, really sexy looking page here and metadata.
• 14:51
  Dave Kropf: That's all pre-populated and it will sort out the BPM foits really, really, really sophisticated stuff.
• 14:57
  Dave Kropf: Also, I've had libraries who say send me a Google Drive link and fill out this Excel spreadsheet, which is totally fine.
• 15:07
  Dave Kropf: Different libraries have different methods that work for them, using the tools that they have access to, and it's our job to be flexible to that.
• 15:16
  Dave Kropf: So, preparing the deliverables, ticking off all of the little check boxes, super, super important.
• 15:25
  Dave Kropf: And I mentioned alt versions.
• 15:27
  Dave Kropf: But alt stems giving them exactly what they want.
• 15:30
  Dave Kropf: And if you don't know, then again ask.
• 15:34
  Dave Kropf: Ask what they need.
• 15:36
  Dave Kropf: If they say hey, for example, send me a piano only version and your cue doesn't have piano, then ask hey, what would you like me to do here?
• 15:44
  Dave Kropf: Most of the time they'll be super upfront and very gracious in their response.
• 15:49
  Dave Kropf: All right, so you've done the paperwork, you've sent off the files, you filled out the metadata.
• 15:57
  Dave Kropf: Now what?
• 15:58
  Dave Kropf: Well for you, your job is mostly done.
• 16:03
  Dave Kropf: This is what happens.
• 16:04
  Dave Kropf: Next is what the library earns for their 50% of the royalty share.
• 16:09
  Dave Kropf: So the first thing is distribution.
• 16:12
  Dave Kropf: Your cue goes into their catalog, it gets added and this is where clients can go and find it, choose tracks for their projects and it just it sits there.
• 16:23
  Dave Kropf: So ingestion, publishing.
• 16:26
  Dave Kropf: But the library should also be doing some kind of marketing, which is promoting your cue, promoting the album, promoting a playlist or something, putting it in front of the music supervisors that they have relationships with, maybe posting things on Instagram, maybe releasing to the DSPs like Spotify and Apple Music, and all of that.
• 16:49
  Dave Kropf: It's not a part of every library's kind of marketing plan, but I'm definitely seeing that trend happen more and more.
• 16:57
  Dave Kropf: More and more libraries are putting their music up onto the DSPs, not to generate streaming royalties, but as a branch of their marketing, and so hopefully, they are doing something to get your music in front of decision makers in the production space Music supervisors, editors, potential clients, filmmakers, advertisers, maybe even game developers, I don't know.
• 17:28
  Dave Kropf: But that takes time and this is where we have to be super patient.
• 17:34
  Dave Kropf: So, in the right submit, forget, repeat we're in the forget phase.
• 17:40
  Dave Kropf: We've written, we've submitted, they've said yes, we've done our deliverables, we've filled out our metadata and now we just have to trust the process.
• 17:49
  Dave Kropf: Now, how long should we trust that process?
• 17:53
  Dave Kropf: Well, I would say like at least a year.
• 17:57
  Dave Kropf: It takes time.
• 17:58
  Dave Kropf: It takes time for your queue to get into the library.
• 18:02
  Dave Kropf: It could take a couple of months for ingestion and all of that stuff.
• 18:05
  Dave Kropf: It's gonna take a few months to get in front of potential clients and that can be tough.
• 18:13
  Dave Kropf: That can be tough especially if you're in the first few years of your journey as a production music composer and you've submitted a lot, you've had some success.
• 18:24
  Dave Kropf: You maybe have had a couple of hits here and there, like things get on pretty quickly.
• 18:28
  Dave Kropf: But for the majority of your cues it's gonna be a while before you see the return on the investment of time and gear and plugins.
• 18:39
  Dave Kropf: And so I think year two and three of this journey, like the first five years of your career, years two and three can be pretty brutal because you're not seeing the return, you're not seeing the royalties.
• 18:54
  Dave Kropf: Snowball like we all talk about, it's going to happen, but we're expected to keep banging out cues and that could be really demotivating.
• 19:05
  Dave Kropf: But then you get a good royalty check and then it kind of boosts your morale a little bit.
• 19:11
  Dave Kropf: But we just have to wait because publishers have to find it, publishers have to listen and it has to be right for a specific project and then once they find it, then they have to use it.
• 19:24
  Dave Kropf: The client finally finds it, they select it and it gets used in the project.
• 19:30
  Dave Kropf: You might get some upfront sync fees but otherwise you get placed and it shows up on your tune set, maybe it shows up on your PRO cue sheet, which is super exciting, and even that, like waiting for cue sheets, can be forever.
• 19:44
  Dave Kropf: But it's going to take a while for you to see that return, even after the placement.
• 19:50
  Dave Kropf: It can take a while.
• 19:52
  Dave Kropf: Sync license fees might get paid up pretty pretty upfront and that is negotiated per project and is inconsistent.
• 20:03
  Dave Kropf: But otherwise we're waiting for royalties from our PRO.
• 20:08
  Dave Kropf: You know, something makes it on air on TV, maybe radio, maybe it gets used online or whatever.
• 20:12
  Dave Kropf: You get performance royalties.
• 20:14
  Dave Kropf: This is collected by ASCAP, bmi, c-sac or whatever, which is exciting, but that takes time because the reporting takes time.
• 20:24
  Dave Kropf: So kind of how it works is production has a project happening.
• 20:31
  Dave Kropf: It could be a new season of television, it could be, hey, we got the sporting event.
• 20:36
  Dave Kropf: It could be a pilot series or something like that.
• 20:40
  Dave Kropf: And so they're going to reach out to their libraries or they're going to reach into the catalogs that they have access to and find something.
• 20:48
  Dave Kropf: If they can't find something, then they'll reach out to the libraries and they say, hey, we need this.
• 20:52
  Dave Kropf: And the libraries are always asking what do you need?
• 20:55
  Dave Kropf: What's coming up, what's new, what can we help you with and the libraries know they're stable of composers and so if they have something that they have a specific composer they know it would be a win for them, then they'll reach out to those composers.
• 21:12
  Dave Kropf: But once it actually gets selected and gets put into a project or put live, then it gets jotted down onto a cue sheet and then that gets tabulated and those all get batched and sent off to the PROs and the PROs then gather all the cue sheets and they gather all of the licensing fees that they've received or the payments.
• 21:36
  Dave Kropf: The networks and everything pay money to the PROs to use the music.
• 21:41
  Dave Kropf: And then it does all the math and then the PROs cut you a check in your quarterly statements and that check details what was used, how it was used, what type of placement it was, what the background, was it featured, was it a theme, what was the length of usage and track, all the IPI numbers and publisher splits and writer splits.
• 22:05
  Dave Kropf: All of that gets tabulated.
• 22:07
  Dave Kropf: But that just takes time from usage to royalties.
• 22:12
  Dave Kropf: So how much time?
• 22:16
  Dave Kropf: Well, let's do the math.
• 22:18
  Dave Kropf: Let's say that you have an idea for a cue.
• 22:21
  Dave Kropf: It might take a month from idea to the cue being finished.
• 22:28
  Dave Kropf: Let's just say a month for easy math, and let's say it takes another month for you to pitch that and find home and for the library to say yes, and then it might take a couple of weeks to work up deliverables and metadata and it might be some back and forth, so you might be another month into it.
• 22:49
  Dave Kropf: So we're already three months from I have an idea for a cue to that cue being accepted and absorbed or ingested into a library.
• 23:02
  Dave Kropf: So we're already three months into it.
• 23:04
  Dave Kropf: The library might have other cues that are going onto an album along with yours, or they might have a specific release schedule that that they adhere to that lines up with their marketing push and all of that.
• 23:16
  Dave Kropf: So it might be, let's say, another three months before your cue gets published.
• 23:23
  Dave Kropf: So we're already six months into.
• 23:26
  Dave Kropf: I have an idea for a cue to now showing up in the catalogs, but then it could take another three to six months for that cue to be shown to the libraries or to the music supervisors and to the editors, and for the editors to have a project that lines up, it could take three to six months before it actually gets selected and used.
• 23:53
  Dave Kropf: So now we are a year into I have.
• 23:59
  Dave Kropf: I have an idea for a cue to showing up on air and then the clock starts ticking on your performance royalties.
• 24:07
  Dave Kropf: It could take three, six, nine months for the production company to report the cue sheet and then it could take another three, six, nine months for the PRO to get that cue sheet and cut you a check so you could be looking at two years from.
• 24:35
  Dave Kropf: I have an idea for a cue to money showing up in your bank account.
• 24:39
  Dave Kropf: That's tough, that's a long haul.
• 24:42
  Dave Kropf: That's very forward thinking.
• 24:46
  Dave Kropf: You have to be patient.
• 24:49
  Dave Kropf: The good news is is that you're not writing just one cue and waiting for two years.
• 24:53
  Dave Kropf: You're writing one cue and then another cue and then another cue and there's all kinds of back and forth, because the last part of the chain of events we talked about signing the contract, working up deliverables, distribution, promotion, usage and royalties, payments, reporting, cue sheet that's the whole chain of events.
• 25:20
  Dave Kropf: But the last thing that happens is the relationship, maintaining the relationship, the back and forth.
• 25:29
  Dave Kropf: If you do write by the library, then they're going to put you on your mailing list and they're going to send out another brief.
• 25:37
  Dave Kropf: They might say, hey, this is what we need, this is the new show or we need this album.
• 25:42
  Dave Kropf: So can you send us some more?
• 25:44
  Dave Kropf: So, while all of those other parts are happening, all of that whole two year journey of your cue into getting paid, while that's all cooking in the background, you are still writing Because, remember, you have been hands off since you finished your deliverables, and your deliverables were done within the first three months, and I'm being super conservative with that.
• 26:08
  Dave Kropf: Sometimes you write a cue in a week and the library wants it in two weeks.
• 26:12
  Dave Kropf: It could be one month.
• 26:13
  Dave Kropf: So I'm just doing just napkin math here.
• 26:15
  Dave Kropf: And so you continue to write, you keep going, you submit more music based on the terms of your agreement, based on everything that they need and feedback from the library and all of that.
• 26:28
  Dave Kropf: But you just keep writing.
• 26:32
  Dave Kropf: Just keep going.
• 26:33
  Dave Kropf: Be patient, trust in the system, trust in your library.
• 26:37
  Dave Kropf: If after a year your cue hasn't shown up, like at least in your PRO is being registered, or if you haven't heard anything from the library it's just been radio silence Then maybe it's time to reach out to them.
• 26:52
  Dave Kropf: Actually, if you haven't heard from them in a year, you probably should have reached out before then.
• 26:58
  Dave Kropf: So I'm going to amend that Like how long should you wait from?
• 27:01
  Dave Kropf: Here are my deliverables.
• 27:04
  Dave Kropf: And then what happens?
• 27:05
  Dave Kropf: I'd say if it's been six months since you've sent your deliverables in and you haven't heard whether it's been published, I think it's OK to send a follow up email.
• 27:13
  Dave Kropf: Just super, super cash, right?
• 27:15
  Dave Kropf: Don't say like where's my music, nothing like that.
• 27:18
  Dave Kropf: Just say, hey, just wanted to follow up and make sure that everything you got everything you needed.
• 27:25
  Dave Kropf: I'm really excited to see where we go next.
• 27:28
  Dave Kropf: If you need anything, please let me know.
• 27:30
  Dave Kropf: I'm just following up on my album from March or from six months ago or whatever, not in a super kind of finger waggy way, but just poking things along.
• 27:43
  Dave Kropf: And one of two things probably has happened.
• 27:44
  Dave Kropf: Thing number one it was published and, for whatever reason, you just didn't get the memo.
• 27:50
  Dave Kropf: Not all libraries will tell you, hey, this has been published.
• 27:53
  Dave Kropf: Not all libraries have the same type of marketing push.
• 27:58
  Dave Kropf: Not all libraries give public access to their catalog.
• 28:03
  Dave Kropf: So you might not know, or, more than likely, if you haven't heard anything.
• 28:08
  Dave Kropf: What's happened is they got busy and your cue is in queue, just kind of train card behind everything else, and it will get released when they're able to get it released in the best opportunity for them to release, which also takes patients, which is why it could be three to six months before they actually place your cue or they actually publish your cue.
• 28:35
  Dave Kropf: So that's what happens after the library says yes, a chain of events gets kicked off.
• 28:44
  Dave Kropf: There should always be communication happening If at any point in any point of the process you have a question you're not sure kind of what's going on.
• 28:54
  Dave Kropf: Do not think you're being unprofessional.
• 28:56
  Dave Kropf: Don't suffer in silence.
• 28:58
  Dave Kropf: Ask your questions.
• 28:59
  Dave Kropf: Remember your libraries and your publishers are business partners with you.
• 29:05
  Dave Kropf: They're not your agents, they don't work for you and they know that people come into the business from all walks of life, all experiences, all backgrounds.
• 29:16
  Dave Kropf: Not everybody, like, went to music school, not everybody is an engineer.
• 29:19
  Dave Kropf: They get all of those things and if you're asking questions, then that tells them hey, you're paying attention.
• 29:26
  Dave Kropf: You're not just blindly guessing and I promise you guessing will cause more friction than a quick two minute email.
• 29:34
  Dave Kropf: But what about you?
• 29:36
  Dave Kropf: What kind of processes have kicked in in your experience?
• 29:41
  Dave Kropf: If you've had some success with libraries, I'd love to hear from you.
• 29:46
  Dave Kropf: Why don't you let me know in the comments below?
• 29:47
  Dave Kropf: I do read all of those comments and would love.
• 29:50
  Dave Kropf: Would absolutely love to hear from you on that, but that is going to do it for this week.
• 29:57
  Dave Kropf: Once again, a huge word of thanks to the family, friends and patron subscribers of 52 Cues, who really do keep all of this going.
• 30:04
  Dave Kropf: They pay their actual real life money to keep this happening and it's so good to have them, and none of this would be possible without them.
• 30:14
  Dave Kropf: You definitely want to tune in next week.
• 30:17
  Dave Kropf: It's going to be a very special episode of the 52 Cues podcast because next week is coming out on December 28th.
• 30:26
  Dave Kropf: It just happens to be my birthday and it happens to be a very special birthday, a very significant birthday.
• 30:34
  Dave Kropf: Next Thursday is my 50th birthday, and so I just want to reflect on that.
• 30:40
  Dave Kropf: I want to reflect on how I feel about turning 50.
• 30:44
  Dave Kropf: What that milestone means.
• 30:46
  Dave Kropf: Do I even feel 50?
• 30:48
  Dave Kropf: Do I look 50?
• 30:49
  Dave Kropf: I don't know.
• 30:50
  Dave Kropf: But it's not going to be super scripted or anything.
• 30:53
  Dave Kropf: I just want to reflect on my stage of my career, where I'm at, maybe where I thought I would be, and we can celebrate me turning 50 together here on YouTube and in the podcast.
• 31:08
  Dave Kropf: But again, friends, thank you so much for joining me.
• 31:10
  Dave Kropf: I hope you've had a fantastic week, especially as we come to the end of the year, I hope it's been a really good year.
• 31:17
  Dave Kropf: I'm looking forward to 2024.
• 31:19
  Dave Kropf: Episode 52 is also coming out really soon, on December 31st and we're going to look at the year and review and talk about what 2024 holds for us.
• 31:31
  Dave Kropf: But again, thank you so much for joining me.
• 31:33
  Dave Kropf: I hope you've had a good week and I know, trust and believe, friends, that the universe has amazing plans just for you.
• 31:40
  Dave Kropf: Until next time, peace.
• 31:42
  Dave Kropf: The 52 Cues podcast is copyright 2023 at 818 Studios.
• 31:48
  Dave Kropf: All Rights Reserved.
• 31:49
  Dave Kropf: The music played on the podcast is copyright of their respective owners and is used with permission and for educational purposes only.
• 31:55
  Dave Kropf: For more information, and including joining the community and submitting your cue for consideration on the podcast, head over to 52cues.
• 32:00
  Dave Kropf: com.