# Your Opinion about Music Licensing of Hollywood?



## YoungComposer (Sep 11, 2012)

I might be submitting my music to this library and was wondering about the quality of production and how it was regarding within the music industry/Hollywood?

Or are there much better options out there for me to apply to?

Your thoughts?


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## Peter Alexander (Sep 12, 2012)

subscribe to the music library report.


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## YoungComposer (Sep 12, 2012)

...it is not free. And I really don't want to pay and sign up for just that one thing.

Is there anyway you can post the list, or tell me how Music Licensing of Hollywood Compares?


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## Daryl (Sep 12, 2012)

If you expect to charge people for using your music, you must expect to pay for things that other people have put work into. Why is your work more valuable than theirs?

D


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## stonzthro (Sep 12, 2012)

I was thinking the same thing...

If you want it for free you'll have to do the legwork yourself.


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## Ear Tonic Music (Sep 12, 2012)

The library business is a very valuable outlet for composers in the current landscape of music for film/tv/advertising. That being said, it's a very competitive market and only getting more competitive all the time. Even the heavy hitter A-list film and game composers have a substantial presence in the library market, so just know that going in... just because its music for a 'library' does not necessarily mean that there's a drop off in quality. Of course like anything there's a wide range from good to bad in library music, from huge awesome epicness to fifty variations of Kumbaya for banjo... so my best advice is to do your homework and research the libraries out there as much as possible before jumping in feet first, make sure it's a fit for both you and them.

-Jonathan


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## YoungComposer (Sep 12, 2012)

Perhaps I did not illy explain what I meant. 
To re-iterate...

I applied to several top music libraries, some of which the quality is much better. I have been accepted by one so far, but was weary to sign anything because there are other line with better music IMHO. 

Like Music licensing of Hollywood vs. Audio machine.


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## Kralc (Sep 12, 2012)

I know next to nothing about music libraries, but here's a good article,

http://www.scorecastonline.com/2012/09/06/writing-for-music-libraries-part-i/ (http://www.scorecastonline.com/2012/09/ ... es-part-i/)



> Should you have your music spread among various libraries? ABSOLUTELY! This is the key to ensuring longevity when writing for varied markets and making sure you cover as wide a base as possible.


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## stonzthro (Sep 12, 2012)

Contact composers who have worked for them in the past...

...or shell out the $10 for a 1 week access fee.


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## rgames (Sep 12, 2012)

stonzthro @ Wed Sep 12 said:


> ...or shell out the $10 for a 1 week access fee.


I disagree - I think Music Library Report is OK but there are better options. I haven't been over there in a long time, so maybe things have changed. You can pick up some of the music biz registries for only a bit more and they have phone numbers of actual people.

Also, I have found that reading other composers' opinions of music libraries is basically useless. Nobody can tell you what's worthwhile and what's not. You need to contact the library and decide for yourself. It's different for everybody and depends entirely on your working process, what styles of music you write, where you're located, etc. and how all of those factors mesh with the particular library.

rgames


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## madbulk (Sep 12, 2012)

Seriously... I'm in an elitist mood. Which takes a set, since I've barely darkened this door lately, but... Geeze, We're discussing this?

I'll disagree with Richard. (Hi, Richard.)... I think Music Library Report is pretty great in concept and Art is pretty awesome and I find other composer's opinions of music libraries fairly interesting and even insightful. It would be hard to cover all that territory by yourself.

As for Music Licensing of Hollywood? I'm gonna save you the time... Art can get mad at me if he wants. Hell, I swear I'll buy you your subscription fee if he objects.... nobody on Music Library Report appears to have heard of it.

So since there are like a gazillion libraries that DO have reputations and comments, I'd say your Music Licensing of Hollywood might not compare all that well to, say, AudioMachine, which would be the upper upper echelon.

Holy crap, but I'm grumpy this day. 

You'd never know Apple released an awesome new phone today. 
Hi again, Rich.


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## stonzthro (Sep 12, 2012)

@Richard, we already established he has contacted the library - he's trying to figure out if other composers have dealt with the company.

I'm curious - what are the better options?


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## MichaelL (Sep 12, 2012)

More to the point has anyone dealt with Leonard Rogowski...the man behind the music?

He states that he has worked with all of the "finest" musicians in Hollywood. Therefore, either some of you must know him, or none of you qualify as "finest." :wink:

I've OD'd on hyperbole already from the political sector.


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## rgames (Sep 12, 2012)

stonzthro @ Wed Sep 12 said:


> @Richard, we already established he has contacted the library - he's trying to figure out if other composers have dealt with the company.
> 
> I'm curious - what are the better options?


The only one I can recall off hand is Rich Esra's Music Business Registry - I bought a copy a few years ago and got some great leads by cold-calling folks in the registry. As I said, I haven't been on MLR for a while but back when I did visit is was just a list of websites - that wasn't much help for me. Also, I posted a few questions there and the responses were basically useless - the discussions here on VI Control are much more illuminating. Maybe it's different now.

There are other registries, I just can't think of them. The bottom line is that a list of websites is not much value unless the websites have actual names and phone numbers. If MLR has that, then it definitely is worth it. You need to get a person on the phone. Better yet, a meeting in person. The other advantage of the A&R registries is that they're not just lists of libraries - they have numbers for music sup's and other folks who might hire you.

@Brian - there might be some good info to be gained by reading other composers' comments but the only info anyone should care about is what's in the contract. Either it's a good deal or it isn't. If I get a contract and it's something I'm good with, why would I care what others think?

rgames


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## musicformedia (Sep 13, 2012)

rgames @ Thu Sep 13 said:


> stonzthro @ Wed Sep 12 said:
> 
> 
> > @Richard, we already established he has contacted the library - he's trying to figure out if other composers have dealt with the company.
> ...



Here are a few more:

http://www.howtolicenseyourmusic.com/mu ... ectory.php
http://www.musiclicensingguide.com/Home.html

MLR is the best one in my opinion though because you get feedback from other composers on which libraries are working and which aren't. In a huge PDF listing, you have no idea which ones are good, which are bad, and which are cowboys.

I wrote an article on some common music library questions too if you're interested:
http://www.filmandgamecomposers.com/gui ... -questions

I make 90% of my income from music libraries and can tell you that if you are serious about it, spend the measly $10 to get a week's access, find the ones you want to apply to and get started. The sooner you start, the sooner you'll start earning a small passive income which you can build on.


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## Jaap (Sep 13, 2012)

madbulk @ Thu Sep 13 said:


> Seriously... I'm in an elitist mood. Which takes a set, since I've barely darkened this door lately, but... Geeze, We're discussing this?
> 
> I'll disagree with Richard. (Hi, Richard.)... I think Music Library Report is pretty great in concept and Art is pretty awesome and I find other composer's opinions of music libraries fairly interesting and even insightful. It would be hard to cover all that territory by yourself.
> 
> ...



There are 22 comments so there are people who have heard of it 

My 2 cents for the discussion is that a subscription is worth the money. It gave me good insights in some libraries and based on the info there I made my strategy for composing and submitting to certain libraries.


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## madbulk (Sep 13, 2012)

Jaap @ Thu Sep 13 said:


> madbulk @ Thu Sep 13 said:
> 
> 
> > Seriously... I'm in an elitist mood. Which takes a set, since I've barely darkened this door lately, but... Geeze, We're discussing this?
> ...



Thanks Jaap, you're quite right. 
My apologies... there are no "votes" but there are in fact 22 comments about that library.


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## Jaap (Sep 13, 2012)

Even a lot of high end libraries don't have votes all the time, but often valuable comments though.


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## madbulk (Sep 13, 2012)

Jaap @ Thu Sep 13 said:


> Even a lot of high end libraries don't have votes all the time, but often valuable comments though.


Yeah, when I glanced, I saw no comments because they're "protected" or whatever... I guess Art has the subscriber protection behind the link that expands to show comments. 
Thanks for correcting me.

Can we agree this is not a high end library though?


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## MichaelL (Sep 13, 2012)

Actually the comments are there. You just have go back to previous pages.
The comments do not paint a pretty picture. 

@YoungComposer: pay the $10 for one week's access and read to your heart's content, or pony up for a year.

More likely than not, you are going to have more questions like this about other libraries. So, it might make sense for you to tap into the MLR as a resource.


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## Jaap (Sep 13, 2012)

madbulk @ Thu Sep 13 said:


> Jaap @ Thu Sep 13 said:
> 
> 
> > Even a lot of high end libraries don't have votes all the time, but often valuable comments though.
> ...



I agree o-[][]-o 

My comment about high end libraries not getting a rating was not directed to Music Licensing of Hollywood, but a general comment, though I see now it could be read like that, but I agree that this is not a high end library.
I think with what I wanted to say about libraries not getting rated is that is shouldn't be a reason to not click on them. I had a few which had some very interesting comments and are also good libraries, so it for anyone smart who has a subscription or who is planning to take one to not only read the rated/ranked libraries, but dig through the whole list if you see some comments listed at a library.


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## YoungComposer (Sep 13, 2012)

That is why, i think i will not be doing business with that company but rather some library that I think has much more quality music.


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## RiffWraith (Sep 13, 2012)

Take it from someone who is with, including Music Licensing Of Holywood, several libraries (a couple "high end" and several "not so high end") - that the more libs you are with, the more money you can potentially make. There is one reason and one reason only that you would not submit to a lib - and that is if you have evidence that you might get screwed. You should never base whether you want to submit to a lib on the quality of their music. Why would you care if the other tracks are not high quality? If the quality is not so good, and you have high end stuff, you are now at the top of the heap in that lib. The owner of the lib may not see it that way, but the clients will. You just made yourself some money. You should also not be selective when submitting. Let's talk about Jeff's Jungle of Jingles. They have nothing that is even remotely similiar to what you write. Why not submit? If it's exclusive with upfront money per track, you may want to think twice, as those tracks only have one shot at getting used. If it's non-ex., why would you say "well, I don't want to be with them."? Go ahead and give them your tracks. Those tracks are in other libs non-ex., so what do you have to lose by getting your tracks in with Jeff? Potentially money, that's what.

With music production libs, the more the merrier.

Cheers.


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## rJames (Sep 13, 2012)

In my opinion the quality and type of music in a lib that u r considering is quite important.
If music sups can't find anything useful in a lib, they will begin to ignore it. You don't want your cues sitting in a bin where no on ever looks.
So if there r 600 comedy cues and 12 epic cues, the epic cues will never be in a search cause everyone comes to that lib for comedy.
It's always better to own the smallest house in a neighborhood with large houses rather than owning the biggest house in a neighborhood of small houses because the value of the other houses will tend to bring your value in line with the neighborhood.


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