One note about composers and music libraries. Don’t be confused to think that you’re in the real game just because you’re getting placements on TV and film.
There’s a huge difference between a music library composer and an actual composer that scores music for film.
Though I’ve received many placements from libraries (primetime and all), I’m still aware that I’m not playing in the big leagues until I receive my first major film score job. These jobs are next to impossible to obtain.
Of course you won’t find the “real” film score composers conversing on sites like this.
There are plenty of amazing “real” composers who have also done libraries. If it’s good enough for Ennio Morricone it’s good enough for me and I don’t compose, arrange, or sound design any less A-game for lib, than a film, ad, or any other custom app. In fact, I will say my lib tracks are what’s getting me closer to working with the “name” composers as a designer. It’s a stepping stone. I don’t understand how you can say getting placements in TV and film isn’t the “real” game.
Suffering from low blood sugar today, or a lack of vitamin D?!
I’m not sure what the source of your self loathing is. Composers all the way up to the close circle around Hans Zimmer contribute to libraries. Extreme Music is a library based in Zimmer’s Remote Control Productions, and the composers ‘on campus’ regularly contribute to the library, with not only tracks rejected from films they’re working on, but also music they’ve written specifically for the library (when they have down time).
I also went to Berklee (not that I put any stock in that – just noticed that you did), have scored dozens of films (to be honest only the past 4 or 5 have been any good) and regularly write music for TV shows. In addition to all this writing to picture, I’m constantly submitting to libraries, because it’s an additional income stream that keeps me afloat when times are quiet.
You’re probably familiar with ‘Two Steps From Hell’. I guess you could call those guys library composers, but the level of production rivals anything by Hans Zimmer or John Powell.
My point is that many composers who write for library music are also actively working on films,TV and games. I agree that scoring to picture involves skills that take many years of honing and are above and beyond what’s required of simply writing a 2 minute track. But what’s your point?
I do know 2SFH…I’ve worked with TJ many times, have known him for about 5 years. I also did go to Berklee for Film Scoring and have many friends that have worked with Hans Zimmer’s camp via composing or orchestration.
Get an IMDbPro account (not expensive). You’ll have access to info films & TV shows in production, pre-production, etc., AND can put up your resume, credits, etc. AND be able to get direct contact info for directors, production companies, music supervisors, etc. so you can pitch your services directly to them.
Those are pretty much all of the biggest libraries. They’re most likely to do work-for-hire deals with composers, because they have the money to pay you well up front (US$1000 a track) and want to own the tracks exclusively.
Hi, Matt!
I plan to finish soon a CD with TV-production music (10-12 tracks incl 30s, 15s edits) to get an exclusive buyout deal with one of such libraries.
Can you give a hint to this task – is it common practice? How much is the average price for track? Can I keep my writer’s share for future back-ends?
Thanks in advance!
I’ve never actually had music ready to shop around to big libraries – I’m always commissioned to write something specific for them. That said, I’m sure you will find someone willing to take those tracks, especially if they are well produced.
It can take some time to build contacts with libraries that will actually pay you upfront, so if you don’t already have relationships established, be patient – it may take months of calls and meetings to get a deal.
If you’re talking about US based libraries, buy-out fees for composers are around $600 – $1000 a track.
NEVER give up your writer’s share – no legitimate library would ever take that from you.
Also, if I may butt in- keep in mind with the “majors” that they spend a lot of time forming the concept of the cd’s they produce, so they don’t just buy a bunch of great tracks. They are trying to make life easier for music supervisors and editors by creating cd’s that have a clear defined mood. e.g. “upbeat and sweet” or “dark / dramatic” Additionally, they want a variety of sounds within that mood (which usually means multiple composers). so, they usually just buy tracks that just happen to fit into the project on hand, even if the tracks aren’t your strongest material. (Occasionally, they do form a CD based on one composer.) luck and timing are definitely involved!
Well said, ‘no name’ – that’s exactly what I’ve seen from the big library companies. One of them offered to buy some of my existing tracks once, but it was probably to sprinkle them amongst various upcoming CDs.
Dont quote me on this, but dj’s and many producers have been using aliases for years. Now what or how each track is registered at with the PRO is between the publisher/artist AND the PRO itself. A simple example is paul mccartney AKA the fireman. Now how the publishing is worked out is possibly similiar to what ive described above ( i never checked the cd in my friend’s collection carefully enough to see wether the credits were under his original name or THE ALIAS used here). I dont believe he’ll go through the hassle of setting up ANOTHER pubslihign company just for that, considering MPL is making him an astonishing amount, and costing a fair bit to administer. So the entry in the PRO MAY JUST BE “composer= fireman (aka paul mccartney).
I wonder if anyone has any advice on using an alias for music libraries. I do alot of work as a hired composer for a number of the bigger libraries but want to get my own stuff up with some of the non-exclusive libraries on the internet. My concern is that the libraries I am hired by wont hire me as often if they know that my name is associated with libraries that offer music at (possibly) lower fees.
If you use an alias do you set up a second publishing company through ASCAP or BMI? Im new to getting my music out there on my own so any advice would be helpful.
The PROs allow you to create aliases and collect the royalties under those names. It’s done when someone wants to do exactly what you’re seeking – to uphold the ‘value’ of your name, and still dabble in the lower end of the industry.
A big one that comes to mind is E.S Posthumus… from my music editing days, I know that their tracks used to be listed on the ASCAP ACE as the Pfeifer brothers. I’m guessing they have gone to great lengths to separate their trailer music business from their album work as E.S Posthumus.
You’ll have to speak with someone over at your PRO – it’s not something they do every day.
Just to play devil’s advocate a sec, you could argue that 6 placements in 3 months with all the many thousands of tracks they have isn’t errr, great really. Believe me, if they had any more than this to shout about they would!
Hey Roger, if you were responding to the Jingle Punks comment than you are missing the point. Jingle Punks places a lot of music. I’m amazed at what shows up in my Tunesat account each day. The six that were the in their newsletter were for actual license fees. A rarity among smaller companies.
Sorry for not replying sooner guys, been away on hols.
Well you’ve all made assumptions about me so thanks for that!
My point, somewhat missed but nevertheless, is a general one in that I visit a variety of composer forums (there’s alot out there now) and see ‘advice’ metered out by certain forum oracles. I am mentioning no names here and trying to talk generally.
One almost senses that certain people have a need for a small following of admirers. Who knows, but seldom do you see these people come up with the goods to show what they can do.
Yeah, it’s wonderful that people are prepared to offer advice to newbies, it’s altruistic, generous and should be applauded, but I think we’d all agree that we can only assess the real value of that advice if we can hear what you’ve got! Don’t list things you did/are doing or who you had lunch with back in the day or who you know etc..etc.. This is interesting at a dinner party perhaps but quite meaningless in the context of today’s library world.
All as I ask is that you stick some current material up. Not for me, but for the many people visiting and seeking advice.
I’m sure you can see that I have a point here? If I went on a medicine forum and some guy gave me advice on the best drugs for high blood pressure, how would I be able to assess the value of this advice?
If people are taking it upon themselves to offer ‘an expert’s view’ on the industry (which is complex), they should understand that with that comes a certain commitment to establishing some basic credibility. In the music world, that must come from what you compose and not what you write in forum post.
And turning the discussion round to me and questioning my skills/experience/age/attitude etc., is irrelevant because I am not offering a library music adviceline.
I merely speak for those seeking a direction in the murky, unchartered waters of library land.
I’m thinking here that maybe some explnation of ‘exclusive’ is necessary. See, you say exclusive to me and I think EMI, Extreme, Universal. But then some of what people on here say about ‘exclusives’ doesn’t really chime with my perception/experience. i.e ‘exclusive’ in a non-MCPS way. Which, if I’m being honest, is rather baffling to me.
So, what DO we mean by ‘exclusive’? Perhaps clarification of this point will assist us all in communicating with greater clarity.
One note about composers and music libraries. Don’t be confused to think that you’re in the real game just because you’re getting placements on TV and film.
There’s a huge difference between a music library composer and an actual composer that scores music for film.
Though I’ve received many placements from libraries (primetime and all), I’m still aware that I’m not playing in the big leagues until I receive my first major film score job. These jobs are next to impossible to obtain.
Of course you won’t find the “real” film score composers conversing on sites like this.
There are plenty of amazing “real” composers who have also done libraries. If it’s good enough for Ennio Morricone it’s good enough for me and I don’t compose, arrange, or sound design any less A-game for lib, than a film, ad, or any other custom app. In fact, I will say my lib tracks are what’s getting me closer to working with the “name” composers as a designer. It’s a stepping stone. I don’t understand how you can say getting placements in TV and film isn’t the “real” game.
Suffering from low blood sugar today, or a lack of vitamin D?!
I’m not sure what the source of your self loathing is. Composers all the way up to the close circle around Hans Zimmer contribute to libraries. Extreme Music is a library based in Zimmer’s Remote Control Productions, and the composers ‘on campus’ regularly contribute to the library, with not only tracks rejected from films they’re working on, but also music they’ve written specifically for the library (when they have down time).
I also went to Berklee (not that I put any stock in that – just noticed that you did), have scored dozens of films (to be honest only the past 4 or 5 have been any good) and regularly write music for TV shows. In addition to all this writing to picture, I’m constantly submitting to libraries, because it’s an additional income stream that keeps me afloat when times are quiet.
You’re probably familiar with ‘Two Steps From Hell’. I guess you could call those guys library composers, but the level of production rivals anything by Hans Zimmer or John Powell.
My point is that many composers who write for library music are also actively working on films,TV and games. I agree that scoring to picture involves skills that take many years of honing and are above and beyond what’s required of simply writing a 2 minute track. But what’s your point?
I do know 2SFH…I’ve worked with TJ many times, have known him for about 5 years. I also did go to Berklee for Film Scoring and have many friends that have worked with Hans Zimmer’s camp via composing or orchestration.
Get an IMDbPro account (not expensive). You’ll have access to info films & TV shows in production, pre-production, etc., AND can put up your resume, credits, etc. AND be able to get direct contact info for directors, production companies, music supervisors, etc. so you can pitch your services directly to them.
A list of Music Libraries: http://www.creativenetworkdesign.com/Partners/Music-Libraries.html
Those are pretty much all of the biggest libraries. They’re most likely to do work-for-hire deals with composers, because they have the money to pay you well up front (US$1000 a track) and want to own the tracks exclusively.
Hi, Matt!
I plan to finish soon a CD with TV-production music (10-12 tracks incl 30s, 15s edits) to get an exclusive buyout deal with one of such libraries.
Can you give a hint to this task – is it common practice? How much is the average price for track? Can I keep my writer’s share for future back-ends?
Thanks in advance!
Hi Dmytro,
I’ve never actually had music ready to shop around to big libraries – I’m always commissioned to write something specific for them. That said, I’m sure you will find someone willing to take those tracks, especially if they are well produced.
It can take some time to build contacts with libraries that will actually pay you upfront, so if you don’t already have relationships established, be patient – it may take months of calls and meetings to get a deal.
If you’re talking about US based libraries, buy-out fees for composers are around $600 – $1000 a track.
NEVER give up your writer’s share – no legitimate library would ever take that from you.
Also, if I may butt in- keep in mind with the “majors” that they spend a lot of time forming the concept of the cd’s they produce, so they don’t just buy a bunch of great tracks. They are trying to make life easier for music supervisors and editors by creating cd’s that have a clear defined mood. e.g. “upbeat and sweet” or “dark / dramatic” Additionally, they want a variety of sounds within that mood (which usually means multiple composers). so, they usually just buy tracks that just happen to fit into the project on hand, even if the tracks aren’t your strongest material. (Occasionally, they do form a CD based on one composer.) luck and timing are definitely involved!
Well said, ‘no name’ – that’s exactly what I’ve seen from the big library companies. One of them offered to buy some of my existing tracks once, but it was probably to sprinkle them amongst various upcoming CDs.
Thank you, and Matt for detailed comments.
It becames more and more clearer.
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Dont quote me on this, but dj’s and many producers have been using aliases for years. Now what or how each track is registered at with the PRO is between the publisher/artist AND the PRO itself. A simple example is paul mccartney AKA the fireman. Now how the publishing is worked out is possibly similiar to what ive described above ( i never checked the cd in my friend’s collection carefully enough to see wether the credits were under his original name or THE ALIAS used here). I dont believe he’ll go through the hassle of setting up ANOTHER pubslihign company just for that, considering MPL is making him an astonishing amount, and costing a fair bit to administer. So the entry in the PRO MAY JUST BE “composer= fireman (aka paul mccartney).
Does that make sense?
regards
S Dhain
Hi all,
Thanks, Art for the great site – very helpful!
I wonder if anyone has any advice on using an alias for music libraries. I do alot of work as a hired composer for a number of the bigger libraries but want to get my own stuff up with some of the non-exclusive libraries on the internet. My concern is that the libraries I am hired by wont hire me as often if they know that my name is associated with libraries that offer music at (possibly) lower fees.
If you use an alias do you set up a second publishing company through ASCAP or BMI? Im new to getting my music out there on my own so any advice would be helpful.
Thanks
The PROs allow you to create aliases and collect the royalties under those names. It’s done when someone wants to do exactly what you’re seeking – to uphold the ‘value’ of your name, and still dabble in the lower end of the industry.
A big one that comes to mind is E.S Posthumus… from my music editing days, I know that their tracks used to be listed on the ASCAP ACE as the Pfeifer brothers. I’m guessing they have gone to great lengths to separate their trailer music business from their album work as E.S Posthumus.
You’ll have to speak with someone over at your PRO – it’s not something they do every day.
Just to play devil’s advocate a sec, you could argue that 6 placements in 3 months with all the many thousands of tracks they have isn’t errr, great really. Believe me, if they had any more than this to shout about they would!
Hey Roger, if you were responding to the Jingle Punks comment than you are missing the point. Jingle Punks places a lot of music. I’m amazed at what shows up in my Tunesat account each day. The six that were the in their newsletter were for actual license fees. A rarity among smaller companies.
Sorry for not replying sooner guys, been away on hols.
Well you’ve all made assumptions about me so thanks for that!
My point, somewhat missed but nevertheless, is a general one in that I visit a variety of composer forums (there’s alot out there now) and see ‘advice’ metered out by certain forum oracles. I am mentioning no names here and trying to talk generally.
One almost senses that certain people have a need for a small following of admirers. Who knows, but seldom do you see these people come up with the goods to show what they can do.
Yeah, it’s wonderful that people are prepared to offer advice to newbies, it’s altruistic, generous and should be applauded, but I think we’d all agree that we can only assess the real value of that advice if we can hear what you’ve got! Don’t list things you did/are doing or who you had lunch with back in the day or who you know etc..etc.. This is interesting at a dinner party perhaps but quite meaningless in the context of today’s library world.
All as I ask is that you stick some current material up. Not for me, but for the many people visiting and seeking advice.
I’m sure you can see that I have a point here? If I went on a medicine forum and some guy gave me advice on the best drugs for high blood pressure, how would I be able to assess the value of this advice?
If people are taking it upon themselves to offer ‘an expert’s view’ on the industry (which is complex), they should understand that with that comes a certain commitment to establishing some basic credibility. In the music world, that must come from what you compose and not what you write in forum post.
And turning the discussion round to me and questioning my skills/experience/age/attitude etc., is irrelevant because I am not offering a library music adviceline.
I merely speak for those seeking a direction in the murky, unchartered waters of library land.
In my humble opinion.
I’m thinking here that maybe some explnation of ‘exclusive’ is necessary. See, you say exclusive to me and I think EMI, Extreme, Universal. But then some of what people on here say about ‘exclusives’ doesn’t really chime with my perception/experience. i.e ‘exclusive’ in a non-MCPS way. Which, if I’m being honest, is rather baffling to me.
So, what DO we mean by ‘exclusive’? Perhaps clarification of this point will assist us all in communicating with greater clarity.
Thanks