# Writing A Music Library Album



## AdamKmusic (Sep 28, 2017)

Hey everyone look another thread about music library albums! 

I’m starting writing my first music library album to hopefully send out to some companies and see if they’ll take a few tracks or not. But really I’m wanting to know, based on everyone’s experience, what kind of music are they all looking for to reach maximum placement potential?

I imagine most are wanting epic tracks, but are some maybe looking for more unique organic tracks?


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## enCiphered (Sep 28, 2017)

This is a strange question to ask. 
Unless you are a grandmaster of musicology and perfectly skilled in every music genre, I encourage you to compose the style you are good at.
If you can build great tension in epic trailer music then go for that. If you have good musical sense for jazz and groove in your blood, then go for jazz or funk.
Don´t try to write a metal song if you have never heard metal before. This won´t work.


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## jononotbono (Sep 28, 2017)

There are so many libraries out there. You need to do your research and find libraries that you are suitable for you. That's not to say if you aren't good at writing something not to bother but if you aren't, for example, very good at writing Epic Trailer tracks then you need to learn how to write good Epic Trailer tracks before you start submitting stuff for consideration. In this example, the bar of production is as high as it gets and if anyone listens to your stuff for the first time, it may or may not be a one shot thing and competition is high. Many libraries specialise in one thing but many, for example Warner or Universal (to name two of the biggest Publishers) have all sorts of music on their rosters (their rosters are HUGE not to mention must have incredible production values). There's nothing wrong with learning how to write different styles just to make tracks for money (and I personally think learning how to write in different styles is essential to growing your musical vocabulary just to become a better musician/composer) but I would say start with writing stuff you are great at writing and go from there. Just writing a library track is a skill set different to writing a song or Cue for Film and TV so it can be daunting at first. Look at libraries you know you could write for and study the structures, edit points, production etc it goes on. Also think about as much live playing on them as possible. It will separate your tracks from the ocean of music that people just write using samples and presets.


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## Desire Inspires (Sep 29, 2017)

AdamKmusic said:


> But really I’m wanting to know, based on everyone’s experience, what kind of music are they all looking for to reach maximum placement potential?



Go for Trap music or Future Bass.

Buy the latest drum kits and synth preset samples for Sylenth, Massive, and Serum.

Libraries eat up this stuff. Trap music and Future Bass cues get used in TV commercials and YouTube videos a lot. That is the current sound of Top 40 radio, so it only makes sense to go with what is popular.

Organic cues made with real instruments will always have a place as background music, but I wouldn't spend too much time on that. It has already been done 50 million times, but the newer genres are still growing and gaining substantial influence with the more youthful crowd. 

Companies are trying to appeal to the younger consumer base to draw them in. So it only makes sense that they license the type of music that younger people enjoy.

So go out and make some bangin Trap and Future Bass and work aggressively to get your music with the music libraries who are interested in modern music. The more mature sound is already covered, so the potential to stand out is slim.


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## jononotbono (Sep 29, 2017)

Well each to their own. Having any live element in music gives instant feel and emotion. As just important, live recordings of anything doesn't date like samples do. Even just recording dirty distorted Guitar stabs all twisted out and is part of an electronic track gives a unique colour that can separate from the ocean of tracks. There are way too many variables to say not to use live playing. But hey, I'm a musician and love to actually play music so I'm going to say this.


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## kurtvanzo (Sep 29, 2017)

I agree, live players do help to stand out not only for the original sound, but the groove that they add to the track as well. Pull in players you know anyway you can. Apart from that research libraries, search the web as if you are searching for music yourself. Make a list of what companies are selling what, those that appeal to you should be starred with a note of what styles they sell that you can do well. Then after you have gone through 100 or so, you should have a selection of half a dozen you could submit to, and which styles are most common amoung them.

There is a good long list in this thread to start you off, just *Scroll Down the Page *(ignore links). Cheers.
https://www.gearslutz.com/board/music-picture/1134796-music-library-list.html


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## Desire Inspires (Sep 29, 2017)

jononotbono said:


> As just important, live recordings of anything doesn't date like samples do.



That is not true at all.

Most music has a "date" associated with it. Live instruments recorded 50 years ago do not sound like live instruments recorded today.

Don't fall for the "live instrument" fallacy. If you love live instruments and they work for the genre of music you are doing, use them.

But don't be afraid to grab some new sample libraries and push them to the limits to get new, edgy, bold, and exciting music. Today's technology isn't the same as MIDI keyboards from the 80's.


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## jononotbono (Sep 29, 2017)

Desire Inspires said:


> That is not true at all.
> 
> Most music has a "date" associated with it. Live instruments recorded 50 years ago do not sound like live instruments recorded today.
> 
> ...



“Live instrument fallacy”? I haven’t fallen for anything and nor have a mentioned anything about music dating. I have said the recording of a live instrument doesn’t date compared to a sample library. 

It’s also the second time in a few days you have mentioned people being “afraid”. The first time was “everyone” apparently being “afraid of success”. This time it’s about being afraid of trying things out. Not everyone is afraid as you seem to think they are. 

Live instruments can very well sound exactly like they did 50 years ago. If I want something to sound 50 years old anyone with the knowledge can make it sound like that. If I want them to sound new that’s entirely possible too.

Anyway, to the OP, do a lot of research, be honest with yourself and write great music that you can then pitch to potential Publishers that you will feel at home with! It’s working for me at the minute.


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## Desire Inspires (Sep 29, 2017)

AdamKmusic said:


> I imagine most are wanting epic tracks, but are some maybe looking for more unique organic tracks?



I know some music libraries are seeking that kind of music. If you love to write that kind of music, go for it. It does get used.

But I think more modern music will have the highest potential for maximum licensing income.

Here is a link to music libraries. Browse around the sites and see if you have music that fits, or better yet, that stands out.

http://www.sohoproductionmusic.com/

https://www.killertracks.com/

http://boostmusic.com/


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## mouse (Sep 29, 2017)

Lol ignore desire Inspires. Look at his posting history to get an idea of what kind of ridiculous stuff he posts. He's most likely a troll..


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## gsilbers (Sep 29, 2017)

mouse said:


> Lol ignore desire Inspires. Look at his posting history to get an idea of what kind of ridiculous stuff he posts. He's most likely a troll..



nah, he is always in library music posts here and gearslutz. music library discussions always bring strong opinions from different point of views.


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## gsilbers (Sep 29, 2017)

AdamKmusic said:


> Hey everyone look another thread about music library albums!
> 
> I’m starting writing my first music library album to hopefully send out to some companies and see if they’ll take a few tracks or not. But really I’m wanting to know, based on everyone’s experience, what kind of music are they all looking for to reach maximum placement potential?
> 
> I imagine most are wanting epic tracks, but are some maybe looking for more unique organic tracks?





tbh, i just dont see the point of doing it this way. i rather walk to 7-11 and play scratch off lottery. 

Imo its better to establish a relashionship with a music library and see what they need and better yet, what they need for a speific client. 

ive done several times that i ask what a library needs and they just say, just send us what you have. which is just adding it to their sourceaudio playlist and markeitng themselves as a big blanket for licensing, like any company. so yes, just a content aggregetor. 
most director and producers i talk to they always say the same thing, they want to have something specific for their program or somethign they know it wont be in other shows. and they dont like surfring to find something that might be anywhere else showise and librarywise.


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## Desire Inspires (Sep 29, 2017)

gsilbers said:


> tbh, i just dont see the point of doing it this way. i rather walk to 7-11 and play scratch off lottery.
> 
> Imo its better to establish a relashionship with a music library and see what they need and better yet, what they need for a speific client.
> 
> ...




I do think that asking what a music library wants can be helpful. I often get briefs to write for particular albums. 

But it can also be good to present an album's worth of music already finished so the library can get a strong sense of what you are good at.

Both approaches are working for me. I say try both, since no two music libraries are the same.


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## gsilbers (Sep 29, 2017)

Desire Inspires said:


> I do think that asking what a music library wants can be helpful. I often get briefs to write for particular albums.
> 
> But it can also be good to present an album's worth of music already finished so the library can get a strong sense of what you are good at.
> 
> Both approaches are working for me. I say try both, since no two music libraries are the same.



do you go for exlusivity when presenting the album or try to place it in several and re-title it?


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## Desire Inspires (Sep 29, 2017)

gsilbers said:


> do you go for exlusivity when presenting the album or try to place it in several and re-title it?



Exclusivity for albums.


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## AdamKmusic (Sep 30, 2017)

Feel like we’ve got a good discussion going on here! Thanks for the input so far I’ve definitely taken it on board


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## muk (Sep 30, 2017)

Desire Inspires said:


> no two music libraries are the same



Exactly. I am writing for one smaller library that only does a few albums at a time, and they only need music that fits on these. So it is best to ask what kind of album they are working on currently to make sure what you are sending them is what they need. With a different library we spend some time developping a concept for an album that a) they know they can sell, and b) caters towards my strenghts as a composer. When a concept is found that all are happy with I start writing and producing the album, all the while getting feedback from the library. So, very different workflows here. It'll develop naturally when you build a relationship with a library.

But that only applies once you're in. How to get accepted by a library as a writer? Tough question. I don't know. I would think your chances are best when you focus on writing what you are best at and then search for the libraries looking for this kind of music. Better than trying to adapt your style to what you think a particular library might be looking for.
Should you pitch a complete album or just two or three tracks? Both is possible. Obviously the risk is higher with the former because of the time investment on your part. In any event send them music that really shows what you are good at, that shows what they will get with you as a composer.


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## InLight-Tone (Sep 30, 2017)

How does getting paid with the album concept work? Up front? By the album, the track? I went to some of the sites DI linked to and they seem to have a number of composers mixed together instead of one per album. Is there any upfront money for an entire album of tracks? Thanks for any clarification...


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## muk (Sep 30, 2017)

There are three possible lines of income.

1) upfronts. A library pays a certain sum upfront per track. You'll encounter upfront only with exclusive libraries, and even there very rarely. If a library pays upfronts usually they keep all of the sync fees. Sometimes it's a recoup deal where they keep all of the sync fee until they recouped the upfront fee they paid you. After that they will split the future sync fees with you.

2) royalties. Whenever your music is broadcasted you will get royalties. The actual sum depends on the broadcast channel (the more viewers the higher the rate usually), the time (aired on primetime generates a higher rate than being aired on early morning), and the PRO you're with.
These royalties are split 50/50 between the writer (=you) and the publisher (the library that published your track). Another terminology is to say that you keep 100% of the writers share, the library keeps 100% of the publishers share. Which amounts to the same - the total royalties are split 50/50 between the publisher and the writer.

There are certain libraries that give away part of the publishers share of the royalties to the broadcasters in order to land placements. Often time they want a part of the writers share to compensate for it. If they want 50% of the writers share, for example, that means that you'll only get 25% of the total royalties generated. Never ever enter into such a deal. Never. Ever. The writers share belongs to the writer and noone else. If a publisher gives away part of the publishers share that's their problem. They don't have any right to any part of the writers share.
If a library suggest such terms I immediately walk away. It won't be a good outlet for your tracks, and no selfrespecting and welldoing library will enter such practices. On top of it certain PROs actively forbid such terms (PRS in the UK for example). If you are with PRS you are not allowed to enter such deals. Check your contract with your PRO for that if you should ever be so desperate as to want to enter such a deal.

3) sync fee. That's a fee the broadcaster pays to the publisher for the right to sync the music to pictures. With exclusive libraries that pay no upfront the sync fees are often split 50/50 between you and the library. When they pay an upfront often they'll keep 100% of the sync fee. Keep in mind that many libraries offer blanket deals to broadcasters: the broadcaster pays a lump sum to the library in order to get the right to sync any music from their catalogue to picture. In these cases 50% of the sync fee will earn you very little.

That's about it as far as I understand it.


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## dannymc (Sep 30, 2017)

> But that only applies once you're in. How to get accepted by a library as a writer? Tough question. I don't know. I would think your chances are best when you focus on writing what you are best at and then search for the libraries looking for this kind of music.



i presume you were referring to exclusive libraries? there are RF libraries and non exclusive libraries out there that will accept just about anything. problem is you'll probably never get found among the other 1 million tracks they have crammed into their catalogues. 

Danny


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## muk (Sep 30, 2017)

dannymc said:


> i presume you were referring to exclusive libraries?



Oh, yes. I should have made that clear. I have no experience with nonexclusive libraries.


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## Desire Inspires (Sep 30, 2017)

InLight-Tone said:


> How does getting paid with the album concept work? Up front? By the album, the track? I went to some of the sites DI linked to and they seem to have a number of composers mixed together instead of one per album. Is there any upfront money for an entire album of tracks? Thanks for any clarification...



Here is another link to a music library with a variety of music: https://www.emipm.com/en/browse/new

Make organic music, synthetic music, and everything in between. There is room for everything!


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## GtrString (Oct 1, 2017)

The question (from OP) is much to broad. You can't rely on blanket statements on this. Trap was an influence on Billboard top 100 in the second quarter of 2017 (See https://www.hitsongsdeconstructed.com/hsd_wire/trends-q2-2017/ ), but there is no way to predict what influence will come. Only if you have insider knowledge of pre-releases currently in production.

You need to research the libraries you plan to pitch for very thorough, look for where they have placed music recently (might indicate a current feed as they must have a relation), and look in their catalog for what they already have and what they don't have that is in the ballpark of the shows they feed. Both is interesting, as they won't need much more of what they already have (unless you can beat it), but something that they don't (eliminate any competition).. also subscribe to their newsletters, sometimes they put out requests for new music in them.

A great place to research all things music libraries is Music Library Report.


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## Desire Inspires (Oct 1, 2017)

The OP can just call the music libraries on the phone and ask them directly what they are looking for. I do it from time to time and it works well.


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