PUMP Audio

[hausboy]

Please provide any experiences pro or con regarding Pump Audio. I think they are not the company for me.

[mattymac1000]

I've had nothing but positive experiences from Pump. Of all the music libraries I belong to, they've made the most money for me (by far!). My income has probably doubled since they merged (or where bought up rather) by Getty Images. More exposure because of how big Getty is.

My only criticism with them is that for the past couple years, it takes a really long time for them to approve your submissions and get them into circulation. If you submit a track, and assuming it gets licensed, don't expect to see income generated from that track for a couple years. The trick is, write a lot, submit a lot.

May I ask why you don't think Pump is for you? I mean they have the standard contract like other music libraries.

Good luck regardless.

-Matt

[hausboy]

I just find their standards a wee much such no whammy or chorus effects., Maybe they changed policies but I'm the type who lets the spirit move me [don't mean booze] whatever fits the bill for a sound is what I care about.
If Pump is making you money please give me a link if possible of your music maybe it'll help improve my stuff.

Here check out my page:

http://ide.synthasite.com/ide/index.jsp ... e6e3ec31e5

[David Polich]

I just find their standards a wee much such no whammy or chorus effects., Maybe they changed policies but I'm the type who lets the spirit move me [don't mean booze] whatever fits the bill for a sound is what I care about.
If Pump is making you money please give me a link if possible of your music maybe it'll help improve my stuff.

Here check out my page:

http://ide.synthasite.com/ide/index.jsp ... e6e3ec31e5

Looking over their list of "reasons music is rejected by Pump", I have to agree. What is "poor programming"
or "dated synth sounds"? What's with the rule that you can't put programmed drum loops into an otherwise
acoustic song (whatever that is).No chorus efffects? Guess I threw my money away on Sound Toys plug-ins. These rules are just arbitrary and vague.

Maybe some folks have had success with them, but having gotten a couple of submissions myself through a
song screener (who doesn't advertise and who actually came to me through a writer friend), I sincerely doubt
that music supervisors really spend hours wading through a bunch of tracks on Pump. Music supervisors rely
on screeners who they know and trust.

[mattymac1000]

Looking over their list of "reasons music is rejected by Pump", I have to agree. What is "poor programming"
or "dated synth sounds"? What's with the rule that you can't put programmed drum loops into an otherwise
acoustic song (whatever that is).No chorus efffects? Guess I threw my money away on Sound Toys plug-ins. These rules are just arbitrary and vague.

Maybe some folks have had success with them, but having gotten a couple of submissions myself through a
song screener (who doesn't advertise and who actually came to me through a writer friend), I sincerely doubt
that music supervisors really spend hours wading through a bunch of tracks on Pump. Music supervisors rely
on screeners who they know and trust.

They distribute hard drives to production companies and music supervisors. The hard drives are probably filled with thousands of tracks and a search engine. While I'm sure they have many credits in films and commercials, a giant portion of their business is supplying music that's used in all those reality shows on VH1, Bravo, MTV, etc. (one 1/2 hour long program may contain 30-40 snippets of different tracks).

I can't speak highly enough about them to be honest. If you have "library music" (hate that phrase) (0:15 to 1:30 in length), I strongly recommend you send your music to Pump. You really have nothing to lose.

[David Polich]

Looking over their list of "reasons music is rejected by Pump", I have to agree. What is "poor programming"
or "dated synth sounds"? What's with the rule that you can't put programmed drum loops into an otherwise
acoustic song (whatever that is).No chorus efffects? Guess I threw my money away on Sound Toys plug-ins. These rules are just arbitrary and vague.

Maybe some folks have had success with them, but having gotten a couple of submissions myself through a
song screener (who doesn't advertise and who actually came to me through a writer friend), I sincerely doubt
that music supervisors really spend hours wading through a bunch of tracks on Pump. Music supervisors rely
on screeners who they know and trust.

They distribute hard drives to production companies and music supervisors. The hard drives are probably filled with thousands of tracks and a search engine. While I'm sure they have many credits in films and commercials, a giant portion of their business is supplying music that's used in all those reality shows on VH1, Bravo, MTV, etc. (one 1/2 hour long program may contain 30-40 snippets of different tracks).

I can't speak highly enough about them to be honest. If you have "library music" (hate that phrase) (0:15 to 1:30 in length), I strongly recommend you send your music to Pump. You really have nothing to lose.

Well then, maybe you could shed some light on their guidelines - what do they really mean? For example "no chorus" -
I take that to mean no guitar solos that sound like "Top Gun". Is that what they refer to? 'Cause modern metal bands
like Slipknot use chorus effects on guitar tracks. Just not in an "80's" way.

Franz Ferdinand, the Killers, Maroon 5 - these are all artists who could arguably be considered "retro" and therefore
"dated". "Dated" itself is entirely subjective - dated back to what? The start of this year? 2000? 1995? If Trent Reznor
used "D50 Fantasia" on his new record, would that make him "dated" or be a case of "poor programming"? "Hook" sounds
in hip-hop have a shelf-life of about two weeks. Once it's on Lil' Wayne's latest drop, then it's no longer "fresh" because, hey, Lil' Wayne already used it.

Sorry, I really have to take issue with their guidelines. I agree that no one has anything to lose - I would like to submit
some stuff myself. But here's the thing - what's "dated" or corny-sounding eventually returns as "fresh and retro".
In the mid-90's, keyboard-driven stuff was dismissed as too "80's" and dated. Then keyboards, including "old and retro" stuff like DX7' FM and even D50 sounds came roaring back. If Pump said, "nothing that sounds like the Thompson Twins,
Howard Jones, or early Madonna accepted", then that would be much more useful. Presently their "reasons for rejection" just come across as snobbish, and as I said before, too vague.

[mattymac1000]

Well then, maybe you could shed some light on their guidelines - what do they really mean? For example "no chorus" -
I take that to mean no guitar solos that sound like "Top Gun". Is that what they refer to? 'Cause modern metal bands
like Slipknot use chorus effects on guitar tracks. Just not in an "80's" way.

Franz Ferdinand, the Killers, Maroon 5 - these are all artists who could arguably be considered "retro" and therefore
"dated". "Dated" itself is entirely subjective - dated back to what? The start of this year? 2000? 1995? If Trent Reznor
used "D50 Fantasia" on his new record, would that make him "dated" or be a case of "poor programming"? "Hook" sounds
in hip-hop have a shelf-life of about two weeks. Once it's on Lil' Wayne's latest drop, then it's no longer "fresh" because, hey, Lil' Wayne already used it.

Sorry, I really have to take issue with their guidelines. I agree that no one has anything to lose - I would like to submit
some stuff myself. But here's the thing - what's "dated" or corny-sounding eventually returns as "fresh and retro".
In the mid-90's, keyboard-driven stuff was dismissed as too "80's" and dated. Then keyboards, including "old and retro" stuff like DX7' FM and even D50 sounds came roaring back. If Pump said, "nothing that sounds like the Thompson Twins,
Howard Jones, or early Madonna accepted", then that would be much more useful. Presently their "reasons for rejection" just come across as snobbish, and as I said before, too vague.

With all due respect, you're taking their guidelines far too literally and looking too deeply into them. I think they are trying to steer away from that 80s stock music library sound that you sadly still hear in some infomercials that run at 4am on the weekends (juicer, knife sets, etc.).

If you sound like Slipknot, Franz Ferdinand, The Killers, Maroon 5 (your examples), you'll definitely get accepted and most likely placed.

I've never even read their "guidelines" to be honest and I don't think you should read into them too much either. Pump is just like a record company regarding their acceptance policy; your music doesn't have to be "good" - it just has to sell.

[hausboy]

See for yourself some I get the others are rather "vague." Here's an example: Using or even thinking about using the chorus effect
Touching the whammy bar in a weird and inappropriate manner

Dated sounds
What if a film no animation production to save money wants music with a 1940 feel or 1990 instead going with classic tracks from Etta James, Elvis, Black Sabbath,Nirvana or Marvin Gaye they use your stuff that has uses "dated sounds." Go on www.soundclick.com search for Subgrounder look for "Whatta Want." It wasn't my intention to create a late 1970's or early 80's disco song but it happened. Sometimes stuff happens. Here's the link below:


http://www.pumpaudio.com/artists/reasons.php

[hausboy]

I'll give a check into Pump Auido again see if what happens. If no luck I'll try elsewhere.

[bralston]

I'll give a check into Pump Auido again see if what happens. If no luck I'll try elsewhere.

I would seriously recommend everyone AVOID Pump audio (in my opinion), especially with the recent changes they have made to their payment structure. They are exploiting the artists whose tracks they represent. I have never done business with them and really have very few tracks in music libraries overall, but I know folks who have done business with them. Below is a recent email Pump audio sent out.

From a post at the Film Music listserv...
Dear Pump Audio Artist, We would like to thank you for your music and congratulate you on being part of one of the fastest growing music licensing companies inthe world. Since the acquisition of Pump Audio by Getty Images, we continue to hear praises from a wide expansion of our clients on the depth and quality of our catalog and that is a testament to you. As we plan for the future growth of our offering to the global music licensing client base, we have determined that to fully support the 400+ person Getty Images sales staff and invest in marketing and technology needs that we must make adjustments to the current revenue split system. By making these changes, we intend to accelerate the pace of our growth and achieve our goal of becoming the largest music licensor in the world. The new model will be as following: 1) Licensing fees will now be 35% to the artist, 65% to Pump Audio/Getty Images 2) This change will take place as of July 1, 2009. Any royalties payable through June 30, 2009 will not be affected by this change 3) Performance royalty splits will remain at 50% of the publisher's share 4) Those that don't accept the new split will have their music removed from the system no later than December 31, 2009. 5) The rights you granted to us in the original contract do not change If you have any questions, please email artistrelations@pumpaudio.com. Please sign the enclosed amendment and send back to: Artist Relations artistrelations@pumpaudio.com Fax #: 845-757-5556 Mailing Address: Pump Audio Artist Relations PO Box 458 Tivoli, NY 12583 *********************************************************************

Also apparently...
1. Pump can't promise the problems they've been having reconciling all of their databases (including, among other things: incorrect contact, PRO, and direct deposit info) are going to be fixed anytime soon. Even with all the new bodies, none dedicated to admin...
2. Pump will now be giving their 'clients' UP TO A YEAR to even report usage. Not pay, just report! So an artist could conceivably bewaiting for 2+ years for payment if the bi-annual reporting didn't fall in one's favor.
3. I've also learned from another source that Pump are 15 months behind in registering their PRO info.

[hausboy]

I'll give a check into Pump Auido again see if what happens. If no luck I'll try elsewhere.

I would seriously recommend everyone AVOID Pump audio (in my opinion), especially with the recent changes they have made to their payment structure. They are exploiting the artists whose tracks they represent. I have never done business with them and really have very few tracks in music libraries overall, but I know folks who have done business with them. Below is a recent email Pump audio sent out.

From a post at the Film Music listserv...
Dear Pump Audio Artist, We would like to thank you for your music and congratulate you on being part of one of the fastest growing music licensing companies inthe world. Since the acquisition of Pump Audio by Getty Images, we continue to hear praises from a wide expansion of our clients on the depth and quality of our catalog and that is a testament to you. As we plan for the future growth of our offering to the global music licensing client base, we have determined that to fully support the 400+ person Getty Images sales staff and invest in marketing and technology needs that we must make adjustments to the current revenue split system. By making these changes, we intend to accelerate the pace of our growth and achieve our goal of becoming the largest music licensor in the world. The new model will be as following: 1) Licensing fees will now be 35% to the artist, 65% to Pump Audio/Getty Images 2) This change will take place as of July 1, 2009. Any royalties payable through June 30, 2009 will not be affected by this change 3) Performance royalty splits will remain at 50% of the publisher's share 4) Those that don't accept the new split will have their music removed from the system no later than December 31, 2009. 5) The rights you granted to us in the original contract do not change If you have any questions, please email artistrelations@pumpaudio.com. Please sign the enclosed amendment and send back to: Artist Relations artistrelations@pumpaudio.com Fax #: 845-757-5556 Mailing Address: Pump Audio Artist Relations PO Box 458 Tivoli, NY 12583 *********************************************************************

Also apparently...
1. Pump can't promise the problems they've been having reconciling all of their databases (including, among other things: incorrect contact, PRO, and direct deposit info) are going to be fixed anytime soon. Even with all the new bodies, none dedicated to admin...
2. Pump will now be giving their 'clients' UP TO A YEAR to even report usage. Not pay, just report! So an artist could conceivably bewaiting for 2+ years for payment if the bi-annual reporting didn't fall in one's favor.
3. I've also learned from another source that Pump are 15 months behind in registering their PRO info.

Sounds to me that Pump Audio is going to grow their company at the expense of artists. I believe since Getty Images purchased the company they want more money from the artists. I'll stay with Soundclick.com. Thanks for letting me know. The one thing I hate about the music business is the complexity of things. So I'll try to investigate things after scammers are always on the prowl. I'm not saying Pump Audio is a scam but they may have policies that mayn't be friendly to pocketbook or wallet. It would've been nice if you gave a direct link nevertheless thank you & I'm gonna check it out.

[mikehalloran]

Does PUMP have a link to the cue sheets so that ASCAP members can self-report their performances?

[funkyfreddy]

On a + note, I just placed this piece through Pump Audio....

http://www.philipleeharvey.com/showreel/

[john presley]

I've gotten some great placements with Pump - Nike, Kraft Foods, and some cable tv placements. Very small $ amounts, but like having legit companies on my resume.

[Robbie_2327]

I personally prefer Taxi. I felt like there was just too big a sea of music at Pump. Taxi has been getting a lot of listings that are direct to music supervisors and large AD agencies (I'm talking national campaigns of very well known companies).

As always, no mater what company you use, your music has to be top notch.

I just placed 42 tracks in a library specifically for this season of Access Hollywood. This came from a forward that I got from Taxi.

Of course Taxi isn't free but I feel the cost is reasonable and worth it.

Just my 2 cents

-Robbie