# Music Library recommendations



## AC986 (Nov 12, 2013)

Gents, would be happy to hear from anyone that has a good all round music library I could contribute to that you have good experiences with. In the UK.


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## RiffWraith (Nov 12, 2013)

Check out the Music Library Report: http://musiclibraryreport.com/ - it's probably your best bet.

I hate to sound harsh, but this business is extremely competitive, and there are way more composers out there than jobs. If I tell you that I have been with Library A for three years, write for them and their projects, and have made good money there from both track fees and royalties, am I going to tell you about this? I could. But say you then approach this lib with your work, and they take you on. They then start feeding you work - work that would have went to me. I'd be not only taking money out of my pocket, but also reducing the potential to move on to bigger and better things. Should I do that?

Cheers.


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## doctornine (Nov 12, 2013)

adriancook @ Tue Nov 12 said:


> Gents, would be happy to hear from anyone that has a good all round music library I could contribute to .




If only it were that simple..... getting through the door is half the battle and as RiffWraith said, we're not exactly going to divulge our contacts.....

:wink:


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## AC986 (Nov 12, 2013)

Work that would have went to you? :lol: 

Unmmm thanks. But look. This inferiority problem is completely misplaced. Trust me we will in no way get any kind if crossover because music types are going to be extremely diverse.

I have a music library company but I am looking for others that are good and trustworthy. That is all. I will find out one way or another but I thought this forum would be quicker. No matter. Forget it.


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## Stephen Rees (Nov 12, 2013)

Hi Adrian,

I agree with the folks above that no-one will probably give you specific advice about contacts, but here is a good place to start....

http://www.prsformusic.com/users/productionmusic/libraries/Pages/default.aspx (http://www.prsformusic.com/users/produc ... fault.aspx)

This is the list of UK production music libraries at the MCPS/PRS. There's a bunch of links to library websites. Visit them all, listen to their stuff, decide who you want to approach and go for it.

The good thing about approaching libraries I've found is no-one cares about your list of credits and experience....they will only care about the quality of music that you demo them. Make it good, the very best you can do.

Good luck to you mate


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## AC986 (Nov 12, 2013)

Stephen I didn't for a second think of looking at the PRS website. That's so typical. Thanks and I will look through it as as I get a chance. Adrian.


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## Stephen Rees (Nov 12, 2013)

adriancook @ Tue Nov 12 said:


> Stephen I didn't for a second think of looking at the PRS website. That's so typical. Thanks and I will look through it as as I get a chance. Adrian.



It's great! They are all there.

I'm fortunate enough to make a living as a library composer. I love writing music to bits, and its a privilege to be able to do it.

If its what you want to do then I sincerely hope you succeed.


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## AC986 (Nov 12, 2013)

Stephen I already do that and am on PRS. As I say, just looking for some further outlets as I'm sure quite a few lib music writers do. I'm not in the slightest bit interested in other musicians contracts as I'm sure you'll realise. Thanks for your positive post and may I add, with not even a trace of musical inferiority anywhere. :D 

As the late, great Yul Bryner once said to Steve McQueen, ' all I have to do is take my hat off'. :mrgreen:


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## mark812 (Nov 12, 2013)

Interesting thread on Gearslutz with similar response by Jeff. However, there are some really useful insights.


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## Daryl (Nov 12, 2013)

adriancook @ Tue Nov 12 said:


> Gents, would be happy to hear from anyone that has a good all round music library I could contribute to that you have good experiences with. In the UK.


Who do you currently write for?

D


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## RiffWraith (Nov 12, 2013)

adriancook @ Wed Nov 13 said:


> Work that would have went to you? :lol:



Yes, work that would have went to me. I fail to see the humor in that.



adriancook @ Wed Nov 13 said:


> Unmmm thanks. But look. This inferiority problem is completely misplaced. Trust me we will in no way get any kind if crossover because music types are going to be extremely diverse.



Crossover? Between me and you personally, maybe. But between everyone? The music prod. lib industry is oversaturated with composers who all use the same libraries, and who are all writing very similar music. Sure, there is variation. Sure, you get some composers doing the "epic" stuff, and some comedy stuff, and so on. But to suggest that I shouldn't worry about a new composer who gets on the roster of a lib I am with, because he won't be doing the same thing as me - that's silly. That is EXACTLY what I worry about. And whoever is NOT worried about that is just being naïve. 

Sorry you took my post to be negative - even tho that probably is what it was. There is no feeling of inferiority here. Just a dose of reality. I honestly think that people do not have a clue as to how many other composers there are out there trying to put food on the table, which in turn will take food off of yours. 

Cheers.


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## Stephen Rees (Nov 12, 2013)

adriancook @ Tue Nov 12 said:


> Stephen I already do that and am on PRS. As I say, just looking for some further outlets as I'm sure quite a few lib music writers do. I'm not in the slightest bit interested in other musicians contracts as I'm sure you'll realise. Thanks for your positive post and may I add, with not even a trace of musical inferiority anywhere. :D
> 
> As the late, great Yul Bryner once said to Steve McQueen, ' all I have to do is take my hat off'. :mrgreen:



You are welcome. I now have Elmer Bernstein's majestic score to The Magnificent Seven' in my head, so thank you for that


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## germancomponist (Nov 12, 2013)

RiffWraith @ Tue Nov 12 said:


> Check out the Music Library Report: http://musiclibraryreport.com/ - it's probably your best bet.
> 
> I hate to sound harsh, but this business is extremely competitive, and there are way more composers out there than jobs. If I tell you that I have been with Library A for three years, write for them and their projects, and have made good money there from both track fees and royalties, am I going to tell you about this? I could. But say you then approach this lib with your work, and they take you on. They then start feeding you work - work that would have went to me. I'd be not only taking money out of my pocket, but also reducing the potential to move on to bigger and better things. Should I do that?
> 
> Cheers.



A wide field but all in all you are right. 

10 years ago I did also a lot of cover-productions for CD productions and earned a good money with that. Then it happened what you describe here and at least I had lost some really good gigs. That taught me a lesson. ...


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## AC986 (Nov 12, 2013)

RiffWraith @ Tue Nov 12 said:


> adriancook @ Wed Nov 13 said:
> 
> 
> > Work that would have went to you? :lol:
> ...



:lol: :lol: 

That's even funnier.


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## AC986 (Nov 12, 2013)

Stephen Rees @ Tue Nov 12 said:


> adriancook @ Tue Nov 12 said:
> 
> 
> > Stephen I already do that and am on PRS. As I say, just looking for some further outlets as I'm sure quite a few lib music writers do. I'm not in the slightest bit interested in other musicians contracts as I'm sure you'll realise. Thanks for your positive post and may I add, with not even a trace of musical inferiority anywhere. :D
> ...



Well done Stephen. I have found three so far with one in the same county.


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## Greg (Nov 12, 2013)

If you're afraid of losing work to other composers... 

start writing better music.


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## Stephen Rees (Nov 12, 2013)

(o)


Greg @ Tue Nov 12 said:


> If you're afraid of losing work to other composers...
> 
> start writing better music.



Agree with you 100%. If someone else writes better or more appropriate music than me for a pitch, they should get the gig, and I need to do better.


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## mark812 (Nov 12, 2013)

Greg @ Tue Nov 12 said:


> If you're afraid of losing work to other composers...
> 
> start writing better music.



Well said.


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## RiffWraith (Nov 12, 2013)

Greg @ Wed Nov 13 said:


> If you're afraid of losing work to other composers...
> 
> start writing better music.



It's not always about the quality of the music, however. You'd think it is, but it's not. Sometimes it's political, sometimes it's just about giving the new guy a shot, if his stuff is up to par.


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## germancomponist (Nov 12, 2013)

Greg @ Wed Nov 13 said:


> If you're afraid of losing work to other composers...
> 
> start writing better music.



Sorry to say this, but this is nothing more than a silly saying.


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## germancomponist (Nov 12, 2013)

RiffWraith @ Wed Nov 13 said:


> Greg @ Wed Nov 13 said:
> 
> 
> > If you're afraid of losing work to other composers...
> ...



+1

In our business it really is mostly more about who you know, how you are, how friendly you are e.t.c., a long list..., and not to forget the money thing. Unknown composer working often for much less money... .


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## rgames (Nov 12, 2013)

The best resource for what libraries are good are your cue sheets. Look at who's getting placements along with your best earners.

The best resource for library contacts are the directories. Search for "Music Industry Directories" and see what you come up with. There are many out there.

MusicLibraryReport is OK but when I looked at it (before you had to pay) it didn't have any contact info for the libraries. So I'm not sure how valuable that really is. For the same price you can pick up one of the directories with phone numbers and e-mail addresses. That's a lot more valuable than just a link to a website that probably has an anonymous contact link, if any.

I'll second the comment that quality is not a major factor in library music. All you have to do is turn on your TV to prove that to yourself. That's not to say library music is bad, just that writing good music doesn't necessarily correlate with making money. Making money in the library world is about quantity, contacts, and luck, not quality. 

rgames


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## germancomponist (Nov 12, 2013)

rgames @ Wed Nov 13 said:


> I'll second the comment that quality is not a major factor in library music. All you have to do is turn on your TV to prove that to yourself. That's not to say library music is bad, just that writing good music doesn't necessarily correlate with making money. Making money in the library world is about quantity, contacts, and luck, not quality.
> 
> rgames



+1


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## AC986 (Nov 12, 2013)

OK the PRS was all I needed to remember actually.

If you want to discuss the merits of stock music, that's fine. If you want to get into your personal insecurities regarding music stock writing, that's also very interesting and at the same time highly amusing.
Quantity in any stock business is definitely high on the agenda for sure. Same in the stock photography business and most any stock businesses.


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## rJames (Nov 12, 2013)

adriancook @ Tue Nov 12 said:


> If you want to get into your personal insecurities regarding music stock writing, that's also very interesting and at the same time highly amusing.



Little superiority complex problem?

In my experience music business contacts are closely held. While I have tried to connect every friend that has ever asked, I have never received any help or contact information except from my mentor/teacher when I was studying EIS.

I hope I'm not forgetting someone...ah, actually one other EIS guy. But I got a great lead from a guy who develops commercial buildings in the OC and who is my neighbor, but not from other producers/publishers/musicians/composers.

I've asked... And hoped...


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## Allegro (Nov 12, 2013)

When nothing works, try doing it the 'SAMSUNG' way. Throw everything you have on the wall and see what sticks. Just make sure no one steals or copies your work in the process. While I don't know jack about music libraries in UK, atleast you can start from bigger libraries and come down from there. And if that isn't enough to confuse you, I am also looking for a decent music library myself. Currently working as a music making machine with a company that only accepts exclusive tracks. I am definitely not the happiest music producer alive. Good Luck :D


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## Madrigal (Nov 12, 2013)

Allegro @ Tue Nov 12 said:


> When nothing works, try doing it the 'SAMSUNG' way. Throw everything you have on the wall and see what sticks. Just make sure no one steals or copies your work in the process. While I don't know jack about music libraries in UK, atleast you can start from bigger libraries and come down from there. And if that isn't enough to confuse you, I am also looking for a decent music library myself. Currently working as a music making machine with a company that only accepts exclusive tracks. I am definitely not the happiest music producer alive. Good Luck :D



Your post got me confused, not sure I completely understand what you're trying to say :| 
but I like your style 8)


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## Stephen Rees (Nov 13, 2013)

People here have loads more experience than me, and I know the music business is all about 'contacts' and 'networking' (I'm so bad at that its embarrassing) and 'paying your dues' etc.

But here's my belief....and it may be completely wrong....but here it is anyway....

The whole composing market may be saturated with 'composers', so strive to be an 'excellent composer'. Once the market is saturated with 'excellent composers', strive to be the best at customer service and earn your work that way. Once the market is saturated with 'excellent composers who are all excellent at customer service', try and be a nice person who people just want to work with.

And if after all that you can't make a living, do something else with your life, and let the people who are really good at it do it instead.

As far as I'm concerned if Adrian and I end up pitching for the same gigs, and he gets the gig and I don't, good luck to him I say. I would never begrudge him that. It would be my own fault for not being good enough.

I know this all sounds terribly idealistic and naive, but speaking only for myself here, I'd much rather live in a world full of idealism and hope, than in a world full of cynicism and despair.

I live in the middle nowhere. I had no contacts. My networking and 'political skills' are zero. But, I make a happy living at this extraordinary gig. If can do it, anyone can.


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## doctornine (Nov 13, 2013)

adriancook @ Tue Nov 12 said:


> I have a music library company but I am looking for others that are good and trustworthy. That is all. I will find out one way or another but I thought this forum would be quicker. No matter. Forget it.



Sorry, I think I misunderstand ? You have a library ?

You personally own a production music publishing company or write for one ?

But without intending to sound mean, no I don't think anyone is going to say anything on such a public forum, in regards who's is or isn't good to work for.

~o) 

But I echo Stephen's comments : I too live in the middle of nowhere, have few "contacts", have realised my networking skills are a joke, and still make a living from library music.


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## Daryl (Nov 13, 2013)

doctornine @ Wed Nov 13 said:


> But without intending to sound mean, no I don't think anyone is going to say anything on such a public forum, in regards who's is or isn't good to work for.


Unfortunately I think that you're right. So much for musicians helping musicians. :cry: 

D


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## AC986 (Nov 13, 2013)

doctornine @ Wed Nov 13 said:


> You personally own a production music publishing company or write for one ?
> 
> But without intending to sound mean, no I don't think anyone is going to say anything on such a public forum, in regards who's is or isn't good to work for.
> 
> ...



I write occasionally for one music library. I do not own a music library, but I'm thinking of starting one myself in the future. I live in rural England.


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## AC986 (Nov 13, 2013)

Daryl @ Wed Nov 13 said:


> doctornine @ Wed Nov 13 said:
> 
> 
> > But without intending to sound mean, no I don't think anyone is going to say anything on such a public forum, in regards who's is or isn't good to work for.
> ...



Daryl I didn't answer your original question because it looked like a trick question.

But since I started this topic, I think it's worth pointing out that the chances of anyone losing work, strictly on a library to library basis, and even more narrowly, on a a track to track basis, is really very remote.

You just have to look at anything out there that's commercial. If every commercially minded person thought that way, they would never do anything.

The idea that writers should write better music is probably a good idea, but it's a moot point when it comes to subjective reasoning that ultimately gets made by a person that is simply placing music to images or radio broadcast, for example. Therefore, it's probably more important to get the production right first and foremost. Tempo, style. mood and keywording are probably more important than what may be perceived as good or bad music when it comes to stock writing. The more derivative it is, the more it will remind a person doing a placement, either subliminally or consciously, of what they're looking for. Almost like reverse engineering a temp track may be one way of looking at it.

The reason why Stephen is successfully doing his job as a music library writer probably has more to do with being totally positive than anything else. And by that I mean the music is probably reflecting that way of thinking too.


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## Stephen Rees (Nov 13, 2013)

Daryl @ Wed Nov 13 said:


> doctornine @ Wed Nov 13 said:
> 
> 
> > But without intending to sound mean, no I don't think anyone is going to say anything on such a public forum, in regards who's is or isn't good to work for.
> ...



I've been really lucky. I've never worked for a 'bad' library.

Some are more demanding than others. Some want gazillions of edits and alternate versions (most want that these days), some micromanage the tracks, others just take the work as is.

Being challenged to do my best work is a sign of a good library. It means they care, and want the best for THEIR clients, which means more good music placements.

Libraries that want to do their own mastering is a sign of a good one. It means they aren't prepared to live with my laughable attempts at mastering my own stuff, and really want to do it right.

And of course, libraries that get good placements and earn good royalties are good ones.

I think it's fair to say that most of us would feel uncomfortable about sharing details publicly about that. But I think that anyone who goes through the MCPS/PRS list above, visits the various library sites and listens to the music, wouldn't have too much difficulty in figuring out which libraries are worth approaching.


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## Daryl (Nov 13, 2013)

adriancook @ Wed Nov 13 said:


> Daryl @ Wed Nov 13 said:
> 
> 
> > doctornine @ Wed Nov 13 said:
> ...


Really? I don't know what trick you think I was trying to play...

In any case, the reason I asked was that until I know where you are currently at, I wouldn't know what to suggest. There is no point in suggesting something that you already have.

D


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## Daryl (Nov 13, 2013)

Stephen, I've only worked for a couple of libraries and for the last 10 years, only one - KPM. They have a number of labels; some of which I would consider getting involved with, and some I wouldn't.

From my point of view the positives are obvious; they have a pretty good market share an I get a reasonable return for my investment.

D


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## AC986 (Nov 13, 2013)

Daryl I didn't mean you were trying to trick me in anyway; it just looked like a 'trick question'. There's a difference. KPM would be way out of my league.

Stephen thanks for your time. Nice piano playing too. Enjoyed those iTunes snippets. Absolutely love Cascades and your mystery, fantasy pieces sound well and truly great.

So...........

*To continue.*

You gents.* How many library tracks do you write a day, a week, a month, a year? *


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## Daryl (Nov 13, 2013)

adriancook @ Wed Nov 13 said:


> So...........
> 
> *To continue.*
> 
> You gents.* How many library tracks do you write a day, a week, a month, a year? *


I write up to 50 differently titled tracks a year. However, the actual writing period is the quickest bit. The production and admin parts are the longest. 

D


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## Stephen Rees (Nov 13, 2013)

Daryl @ Wed Nov 13 said:


> Stephen, I've only worked for a couple of libraries and for the last 10 years, only one - KPM. They have a number of labels; some of which I would consider getting involved with, and some I wouldn't.
> 
> From my point of view the positives are obvious; they have a pretty good market share an I get a reasonable return for my investment.
> 
> D



Hi Daryl,

I know I quoted you above, but I suppose I was just sharing some information generally with anyone trying to decide if a library is a good one. You've probably forgotten more about writing for libraries than I will ever know 

I think you make an important point. This is a business. Creative, fun, rewarding, exciting. Have you ever got used to the buzz of watching a show and all of a sudden your music appears in it unexpectedly? That never gets old for me. When I got a piece of music in the 'How To Train Your Dragon' trailer (its only there for a few seconds, but it IS there!) I actually cried 

But it IS a business, and deciding what libraries to approach and what gigs to take is an important business decision.


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## Stephen Rees (Nov 13, 2013)

adriancook @ Wed Nov 13 said:


> Daryl I didn't mean you were trying to trick me in anyway; it just looked like a 'trick question'. There's a difference. KPM would be way out of my league.
> 
> Stephen thanks for your time. Nice piano playing too. Enjoyed those iTunes snippets. Absolutely love Cascades and your mystery, fantasy pieces sound well and truly great.
> 
> ...



Thankyou 

I can't take any credit for Cascades. I think Scott Joplin was a genius. All you have to do is play his notes and not get in his way.

I also probably complete about 50 tracks a year.


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## AC986 (Nov 13, 2013)

Daryl @ Wed Nov 13 said:


> adriancook @ Wed Nov 13 said:
> 
> 
> > So...........
> ...



That's impressive.

That is just about full time in my book. I may be wrong. Following on from Stephens point, it definitely is all about making good business decisions without emotional trauma attached, like work that would have went to me, for example. :D


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## Daryl (Nov 13, 2013)

Stephen Rees @ Wed Nov 13 said:


> I think you make an important point. This is a business. Creative, fun, rewarding, exciting. Have you ever got used to the buzz of watching a show and all of a sudden your music appears in it unexpectedly? That never gets old for me.


I have a few anecdotes on that one, but it usually makes me laugh, particularly if a track is used for something that I would never have thought of. One that my family never lets me forget is when one of my tracks was used on How TV Ruined Your Life, they took it to mean that it was my music that was ruining lives. :lol: 



Stephen Rees @ Wed Nov 13 said:


> But it IS a business, and deciding what libraries to approach and what gigs to take is an important business decision.


Anyone who thinks that this isn't a business is going to be disappointed in the long run. Unless they are very lucky.

D


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## Stephen Rees (Nov 13, 2013)

Ha ha.

My first every library placement? 'Britain's Youngest Boozers' (I've not seen it......)


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## AC986 (Nov 13, 2013)

hehe

I never get to see any of mine uses, but the one I did catch was on Newsnight and was about education.


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## Daryl (Nov 13, 2013)

adriancook @ Wed Nov 13 said:


> hehe
> 
> I never get to see any of mine uses, but the one I did catch was on Newsnight and was about education.


A few years ago my niece used to like to look through my PRS statement to see what the uses had been, but I had to stop that after I had to explain what Sex TV was. :shock: 

D


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## doctornine (Nov 13, 2013)

adriancook @ Wed Nov 13 said:


> So...........
> 
> *To continue.*
> 
> You gents.* How many library tracks do you write a day, a week, a month, a year? *



Per year - if it's been productive then minimum of 100 tracks signed to libraries. If it's been slow, maybe 50'ish. 
But I'm probably writing more than that, the simple act of writing is no guarantee that you'll end up with tracks signed to a library thats going to make you money. 
But yes, I am doing this full time.

And best comedy placement : WI's Guide To Brothels.

Yup. thats on my CV :D


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## Stephen Rees (Nov 13, 2013)

Bravo Jonathan. You win! 

Thanks for starting this thread by the way Adrian. I have great respect for anyone who feels moved to want to write music to share with the world, and who is brave enough to try and do it for a living. Music is important. We need more good music in the world, and good people writing it.


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## germancomponist (Nov 13, 2013)

Stephen Rees @ Wed Nov 13 said:


> Bravo Jonathan. You win!
> 
> Thanks for starting this thread by the way Adrian. I have great respect for anyone who feels moved to want to write music to share with the world, and who is brave enough to try and do it for a living. Music is important. We need more good music in the world, and good people writing it.



+1

Let me go back to the term "better music", as Greg mentioned. 

What is better music? If composers are masters of their craft alike, then it is more likely a matter of taste. Opinions on "which is better" go far apart. And this is not bad at all. On the contrary! It's good!

But it is stupid to say: "Write better music".


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## doctornine (Nov 13, 2013)

germancomponist @ Wed Nov 13 said:


> +1
> 
> Let me go back to the term "better music", as Greg mentioned.
> 
> ...



I know a lot of people on this forum are very down on Library, for a whole variety of reasons. But that aside, these days if you want to get anywhere with Library, you absolutely need to be writing the best material you can. It's no longer just generic background music of questionable quality..... so yeah, write the best you can


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## Cruciform (Nov 13, 2013)

doctornine @ Thu Nov 14 said:


> I know a lot of people on this forum are very down on Library, for a whole variety of reasons. But that aside, these days if you want to get anywhere with Library, you absolutely need to be writing the best material you can. It's no longer just generic background music of questionable quality..... so yeah, write the best you can



+1

Adding to that, there are a very wide range of libraries catering from McBeats and basic cues through to recorded orchestras or other session musicians and singers. It's way too broad a field for generalisations.

I like my producers challenging me to keep upping my game.


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## Stephen Rees (Nov 13, 2013)

That's true.

I'm going to gush again. It's for the last time I promise, but I'm writing sincerely from my heart so please forgive me one last time....

We often dwell on the downside. I do it too. Nobody values us; the pay is awful; it's too competitive; the sound effects drown us out; no-one listens to or cares about the music anyway; it all sounds the same; where are the wonderful melodies of yesterday?...and we paint ourselves into a dreary world of grey.

Why would anyone want to do this for a living? I imagine the person who wakes up one morning and feels inspired to want to become a composer. To communicate from their heart to the rest of the world and do it for a living. I think they might look at this world of gloom that we paint of it and be appalled and give up before they even start.

The world is what we make of it. This forum is absolutely filled to the brim with talent. We can change it. Write something extraordinary; something so good it changes the face of music in your field for the better (in whatever field that may be - film, television, library, concert works.....). There are loads of people here with the talent to do it. There are people here who ARE doing it right now. I don't count myself among them, but I AM trying.

Sorry for my idealism, but I suppose I'm just reaching out to encourage anyone that writes music, whether they do it for a living or not, to continue. Music is important.


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## germancomponist (Nov 13, 2013)

doctornine @ Wed Nov 13 said:


> germancomponist @ Wed Nov 13 said:
> 
> 
> > +1
> ...



Smile, agreed! But this is exactly what I am saying. 

When for example 3 composers, all 3 are masters of their craft alike, when 3 such composers do their best then it is a matter of taste what piece a director will grab... . Best is they grab all three!


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## Stephen Rees (Nov 13, 2013)

I think we should have a social event.....

Library Music Composers with Questionable Networking and Social Skills

We could each stand in a corner awkwardly holding a cappuccino, not to talking to each other or making eye contact, shuffling our feet, staring at the floor with the occasional nervous glance at our watches yearning for the time we can be be back in our safe cosy studios writing music.

It'll be awesome.


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## doctornine (Nov 13, 2013)

Stephen Rees @ Wed Nov 13 said:


> I think we should have a social event.....
> 
> Library Music Composers with Questionable Networking and Social Skills
> 
> ...



Bit like a school disco then ?

:?


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## Stephen Rees (Nov 13, 2013)

doctornine @ Wed Nov 13 said:


> Stephen Rees @ Wed Nov 13 said:
> 
> 
> > I think we should have a social event.....
> ...



Ha! Exactly. I'm already worrying about it....


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## AC986 (Nov 14, 2013)

doctornine @ Wed Nov 13 said:


> germancomponist @ Wed Nov 13 said:
> 
> 
> > +1
> ...



Regarding who and what people supply tracks to. I see one of your libraries that you put work into. That looks great but would be totally unsuitable for the type of stuff I do. So straightaway this issue about worrying about losing out is far and away worry over nothing.


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## rJames (Nov 14, 2013)

Adrian, you keep trying to prove how you are right (and I guess we all tend to do that) but people from all walks of life generally do not post their business connections on public forums.

Try Google. Post music here at VI. There are people here who manage big name libraries on this forum. Maybe they'll ask you to write for them.

Its OK that you asked, let it be OK for people to say,"no, I"m not going to give you my connections but go to musiclibraryreport.com (or whatever) and check for yourself."

You are asking strangers to help you locate people that they have spent years trying to cultivate AND they may not want to waste these connections time with an unknown.

Just do it.

BTW If your music does not compete with theirs then the libraries they write for do not need someone like you. Sort of a catch-22. If their connections DO need someone like you... well then...


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## mscottweber (Nov 14, 2013)

I'll 2nd (or is it 3rd now?) Music Library Report. There are hundreds of libraries listed their and, more importantly, *real working composers in this industry chime in and comment on their experiences with them*

Even if a bunch of people on this forum were to give you a list of libraries they use successfully, there's no guarantee that YOU would have any luck with them. Different libraries have different musical needs, and those needs can change from week to week. Just because MY epic orchestral music sells well at Library A, that doesn't mean Library A will still have a need for YOUR epic orchestral music (even if its WAAAYY better than my music).


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## AC986 (Nov 14, 2013)

I'm trying too hard to allay peoples unfounded fears.

I already said twice that the list at PRS is perfect for what I need.

And also, I don't understand what you mean by wayyyyy better than yours. That's a totally spurious and irrelevant point mscotttweber. Think about that statement for a second. If that was the way everyone thought, there would only be one composer per library in the end wouldn't there and there quite obviously isn't.


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## rJames (Nov 14, 2013)

Wow, really?

You need to call around, email around to some libraries so you can get the feel of the marketplace.

Even as thickheaded as I am, I could understand what mscottweber meant.


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## mscottweber (Nov 14, 2013)

Well, I don't write very much epic orchestral music, so yours probably IS way better than mine  

"waaayyyy better" was meant to be sarcastic. Obviously (as has been debated already in this thread) quality is in the eye of the beholder.

I think the internets would work a lot better if there was a "humor" button right next to "bold" and "italics". Maybe I'll switch to comic sans font next time...?


Also, none of the things I said necessarily pertain to you, adriancook, specifically. PRS is exactly what you were looking for, which is great, but I would hate for non-UK lurkers to read this thread and write off MLR. It has proven to be a valuable resource to me, if not for some others.


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## AC986 (Nov 14, 2013)

2 things. At the top of this post I specifically wrote In the UK. Second I don't have a sense of humour.

I will admit though I prefer to talk with people from the UK in general about music but that is just a personal preference.


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## Stephen Rees (Nov 15, 2013)

mscottweber @ Thu Nov 14 said:


> I think the internets would work a lot better if there was a "humor" button right next to "bold" and "italics". Maybe I'll switch to comic sans font next time...?



That would be so useful! It would be my default font.

I just wanted to share a little story about myself.

As mentioned earlier, I live in the middle of nowhere, no contacts, zero social skills etc. etc. A member of this forum offered me my first library gig about 9 years ago. In fact it was my first professional gig of any kind. That offer led directly to 16 of my tracks ending up in one of the best libraries on the planet. I would never have got that gig by myself. My whole career stemmed from that offer, and it has had a profound positive effect on both my career and my life.

I won't embarrass him by naming names, but I will say that he is a highly successful and respected composer, and is also highly respected and successful in other areas of the music business that he has chosen to pursue. I don't think his act of generosity to me has hurt his career.

I consider him a friend for life.

I've never even met him.


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