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Thought this may be of interest to folks considering music libraries. Sub mixes are very important if you want TV placements. Often clients want a short version of a track - and they usually want immediate access to it. It's a lot of work, but it works... Hey, it's not all fun and games.



Best, John

John, I just had a few instrumentals accepted to a library. They gave me the same set of rules for future placements that you described. I'm just not sure how to register the smaller versions with a PRO.

Thanks for sharing your experience. Yes it's a lot of work..but easier than digging a ditch.

Congratulations Ben! When I register sub mixes I'll add "Short 1, Short 2, etc.. If the original title was Eerie Night, then sub mixes would be Eerie Night-Short 1, Eerie Night-Short 2, etc.. Normally the music library will register your tracks with the titles you give them.

Wishing you success Ben!

Best, John

Mornin' John:

You and Ben have certainly highlighted the pathway to success for 90% of the Music Libraries seeking melodies for movie-cues and advertising, etc.

Picking and choosing a Music Library or two to work with is a difficult assignment unless one subscribes to the Music Library Report.

What advice would you give to those of us who write and record songs? My instrumental work lacks the skill and panache you constantly display in your work.

From past experience, many Music Libraries that accept songs want the author/writer to provide keywords describing the mood and emotion of the work to make it easy for potential license seekers to pick and choose. Is this still the case today?

Licensing was always an attractive concept to me but it seemed to require so much time away from the creation of new songs, I tended to shy away from it. The one I tried was a big disappointment to me, seldom if ever reporting progress or providing input. I'm sure that comes from not establishing a good working relationship with the individual assigned to manage your work.

Ben brings up an excellent point about how to register "short clips" (some call them out-takes) taken from a song so they can be inserted into scenes without the license buyer doing all that work. I suspect by now you get my drift. I'd rather be creating new songs. Are there middle-men/agencies who act as intermediaries between songwriters and music libraries?

Perhaps I've discovered a new business model??? LOL!

Regards,

Dave

Here's the format that was requested by a library that was sent in an e-mail. Sounds similar to to what John describes.

Main Track:
- 60 - 90 Seconds long
- sting ending (a definitive ending, no fade outs)

Alternate Versions:

- Narrative Version (no lead melody)
- Sting Version (10 - 15 second version with a definitive sting ending)

The song structure for every track you submit should start out sparse, build up, break down (with a few hits added), build up again and end with a definitive sting ending.

Hi Dave! I'll answer your questions to the best of my knowledge.

Picking and choosing a Music Library or two to work with is a difficult assignment unless one subscribes to the Music Library Report.

Yes the “Music Library Report” is a good start. Though finding the right library is very difficult. Good to have lots of tracks to spread around in the beginning till one finds a library that works for them. Another obstacle is some libraries take a year or two before your tracks are in their system (available to clients). Utmost importance: make sure there’s a 1-2 year reversion clause in the contract.

What advice would you give to those of us who write and record songs? My instrumental work lacks the skill and panache you constantly display in your work.

All libraries require “broadcast quality” (whatever that is). The best way to judge your recording quality is listening to TV music and compare your quality with what you hear. Though clients use different ears when listening. Some are less critical than others.


From past experience, many Music Libraries that accept songs want the author/writer to provide keywords describing the mood and emotion of the work to make it easy for potential license seekers to pick and choose. Is this still the case today?

Yes, many libraries want your input with descriptions. These keywords are most important if you want to have your music heard. Library music players have search engines for key words. Clients use this search feature to save time. Use every keyword you can think of that match your tracks. Don’t use words that don’t match. It only frustrates the clients and they may pass over your name in the future.

Here’s a track titled “Tender Dreams” I loaded on Audio Sparks recently:

Moods: Atmospheric, Bittersweet, Caring, Dreamy, Earthy, Emotional, Ethereal, Forgiving, Haunting, Heartwarming, Heavenly, Hopeful, Inspiring, Lonely, Longing, Loving, Meaningful, Meditative, Melancholic, Peaceful

Styles: Commercial / Promo, Documentary, Film Instrumental, Nature, New Age, Romantic Drama, Romantic Passion, Soap Opera, TV Instrumental, Wedding Ceremony

Cross-Reference Genres:
Tender Dreams
Dramatic Music
Calm, quiet, mellow, serene music

Extended Keywords: Enchantment Moving Intimate Relaxing Emotive Retrospective Reassuring Yearning Sensitive Heartfelt Passion Feelings Embracing Misty Ambient Effects Reminiscing Meaningful Demure Drama Emotional Inspiring Passive Pensive Surreal Dream Dreaming Memories Whimsical Dreamlike Otherworldly Trancelike Memoirs Alluring Poignant Minimal Affecting Loving Peaceful Calm Gentle Caring Soothing Reverie Daydream Introspective Romantic Tenderness Spiritual Heavenly Beautiful Sentimental Sweet Enchanting Acoustic Blissful Aura Nature Marveling Amazed Awe Wonder Wonderment Wondering Interstellar Galaxy Cosmos Pondering Reverence Aspiration Nature Preserve Esoteric Sanctuary Retreat Solitude Loneliness Seclusion Quiet Remote Solace Comfort Relaxation Rest Yearn Space Well-being Security Haven Refuge Hopefulness Wish Wishing Absorbed Pondering Laid-back leisure Hideaway Refuge Wonderful Never Land

Licensing was always an attractive concept to me but it seemed to require so much time away from the creation of new songs, I tended to shy away from it. The one I tried was a big disappointment to me, seldom if ever reporting progress or providing input. I'm sure that comes from not establishing a good working relationship with the individual assigned to manage your work.

Yes, I’ve had several disappointing libraries as well Dave. I devote 75% of my time to composing/recording and 25% to the business end. The 25% pays back in inspiration when I get placements. It re-fuels my ambition. Forming relationships are important, but often difficult until you start making money for the library.

Ben brings up an excellent point about how to register "short clips" (some call them out-takes) taken from a song so they can be inserted into scenes without the license buyer doing all that work. I suspect by now you get my drift. I'd rather be creating new songs. Are there middle-men/agencies who act as intermediaries between songwriters and music libraries?

Those short clips will be used more than the full versions. Some clients will do the cutting to fit the scene themselves. Using a fade-out. Other clients want the work done for them. A few months ago a library contacted me about a track of mine a client wanted. Though the client wanted 7-8 sub-mixes (which were described in detail). I spent several hours preparing this in a hurry before the client lost interest. I think these events should be dealt with as a challenge. It’s all part of the music library business. I don't know of any management firms that I would recommend.


Best, John

I wish I had tis ability but don't. Thanks for the info though.

Hey Barry,

I'd say that track with "Barry & The Boomers" on your website could be useable by a music library. All kinds of music are wanted. Just have to find the right library for your niche.

Best, John

Barry, It's worth a shot. You're a composer, so compose. You have the basic ability as described above.

Like John, I can't tell you which libraries to submit to. I'm having trouble figuring that out myself, but I'm still going after it. Write exclusive songs and don't give away your favorite songs to an exclusive contract, unless the payoff is worth it to you.

Take Johns advice seriously. He's doing us all a favor.

A music library that deals with songs/vocals as much as instrumentals is Crucial Music: http://www.crucialmusic.com/ Anyone can submit to them. The review process takes quite a while (3-6 months). They're very tough on selecting tracks though. I think in the past three years I've submitted about 50 tracks. Seven have been selected for their catalog.

John

Here's an alternate experience, based on my perspective. The libraries I've done stuff for recently don't want cut downs anymore, they want stems.

Thus it would be full length stems of:

Full Mix
Underscore
Drums & Bass
Drums
Guitars
Bass
Synths
(Vocals if its a vocal track)

I've never had to supply keywords or descriptions to the songs - they do that, its their job. Then again, I'm getting hired to create specific tracks. All I supply is the title, files and composer info. They deal with the registration which usually happens within 1-2 months and then releases. Rarely does it go over 4 months before its public.

One new library I'm working with is doing something quite different in that I'm also getting ⅓ of my publishing along with 100% of my writers share, plus I get to do the ISRC info. Better yet, already getting a bunch of placements within weeks of turning the tracks & stems over.

What advice would you give to those of us who write and record songs? My instrumental work lacks the skill and panache you constantly display in your work.

First: When you write, would you buy what you're writing? This is an important question many writers/composers never ask themselves. It takes some people years to get comfortable with creating and doing an awesome job. Are you writing for yourself or for a specific market? Can you convincingly write music in any particular genre? Multiple genres? Some people can, some can't. Know what you're great at and perfect that. That's first and foremost - be honest with yourself about your writing.

Second: Today's composer has to be better than average with their production chops. Take some courses on production. Listen to material for the niche or niches you write/compose great in and learn to recreate it from a production angle. Have trusted ears listen and give you pointers. It takes years to get awesome with production chops.

Third: Relationships. They're important. With all the people I know, I can get meetings at the bigger libraries, but I'm not always what they're looking for. But I stay in their radar and eventually it comes around that I'm the right person at the right time for what they need, meaning I'm getting called more often than my having to call, compared to the past. Then again, I'm able to write and produce in a large array of styles convincingly and timing is more the issue.

Biggest thing is: Keep composing and producing, listening and evaluating. Grow.

Good advice Jody. There are hundreds of libraries in Cyber space. Finding one that's right for your music can be challenging.

Best, John

Love This Thread!

JLS: I just did a fast take of mine of the same Db-D Ab theme which you tracked. May I send it to you via Email for your review. I know I don't have your gear, but want to see if you think I have enough of gear to maybe give the Music library Avenue a try. I did the thunder, some spooky ohs and ahs, and low strings.

Thank you,
The other John

Be happy to listen John.

Best, John

Ok, thank you! Will send now.

Wish you luck John!

Best, John

Great advice here !

Bottom line ? You need to be able to edit at will. In other words, be able to pull up your master tracks, and adjust as necessary.

John's mixdown explanation works, as does Jody's approach to supplying the stems, if required.

All in all, it's flexibility, and being able to edit at short notice to the requirements of the client.

And Jody's point about relationships is spot on. It's about reliability and the attitude of "sure, I can do that, no problem".

cheers, niteshift

"Bottom line ? You need to be able to edit at will. In other words, be able to pull up your master tracks, and adjust as necessary" - Nite

Also making "shorts" ahead of time to place in the library will get results. Here's a "short" of one of my tracks. Wouldn't have got this placement with the full version. My :30 track starts at 2:19...

http://www.bing.com/videos/search?q...1E1D22F8F24A5C7A7D131E1D22F8F24A5C7A7D13

John

I added this topic in my favorites as a post. I am gearing up for commercials and soundtracking along with some nice nature and sci-fi videos in media studies. Like to hear all the more info and people's experiences.

Matt

I was thinking of signing up to youtube after I learn more about videos. I have mp3's that I have posted in various places.
How much are videos weighed in to in conjunction to a song?