# How does one get started in music library work?



## DimensionsTomorrow (Sep 10, 2020)

Hi,

If there is already information about this on here could someone kindly point me in the right direction?

If not, I was wondering if someone could outline how the process works for submitting compositions to music libraries.

In another thread someone said that typically music libraries provide some kind of a brief for what they are looking for and composers submit pieces to those specifications (at least that’s what I thought I read).

Are there any music library companies out there that accept unsolicited work? For instance, if I write music in a very specific niche genre (for the sake of argument, let’s say film noir), are there any companies out there that I could submit my work to to be a part of their catalog for licensing?

I’m actually a professional translator by trade (Japanese-English), but doing music library work is a bit of a dream of mine. I’m assuming that like the translation industry there are many tiers, so I’m not trying to step on anyone’s toes or anything.


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## InLight-Tone (Sep 10, 2020)

There is a lot of good information at the following link but it does cost $19.99/mo.
They have a bunch of good YouTube videos you can watch for free to get a feel for Jesse who runs it, and the type of content you'll get.
https://www.syncmymusic.com/syncacademy24041343 (Sync Academy)
Sync My Music (YouTube)


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## DimensionsTomorrow (Sep 10, 2020)

InLight-Tone said:


> There is a lot of good information at the following link but it does cost $19.99/mo.
> They have a bunch of good YouTube videos you can watch for free to get a feel for Jesse who runs it, and the type of content you'll get.
> https://www.syncmymusic.com/syncacademy24041343 (Sync Academy)
> Sync My Music (YouTube)



Thanks! I’ll definitely have a look.

Have you signed up for that yourself? Do you think it helped? It looks like he has a free five-video intro course on YouTube so I’ll start with that!


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## RonOrchComp (Sep 10, 2020)

_In another thread someone said that typically music libraries provide some kind of a brief for what they are looking for and composers submit pieces to those specifications _

Yes, this happens, but you typically have to be on the libraries' roster to have any brief work accepted.

_Are there any music library companies out there that accept unsolicited work? _

Some don't most do. The best way to go abut this is to send your music to a library that you think suits you and your music, and see if they bite. Don't wait for them to come to you.

I seem to remember Christian Henson (SFA) making a video not too long ago (last year?) about this topic, and I seem to remember that although there were a couple of things I disagreed with, it was by alnd large a good and informative watch.

Also, sign up for the Music Library Report. Some good, helpful info on there, I think.

Also, and I don't now if it's cool to mention other forums on here, but keeping with the _musicians helping musicians_ theme, I'll give it a shot - there are some knowledgeagble folks in the Music For Picture sub of the gearslutz forum.


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## DimensionsTomorrow (Sep 10, 2020)

RonOrchComp said:


> I seem to remember Christian Henson (SFA) making a video not too long ago (last year?) about this topic, and I seem to remember that although there were a couple of things I disagreed with, it was by alnd large a good and informative watch.
> 
> Also, sign up for the Muisc Library Report. Some good, helpful info on there, I think.



Thanks! I’ll track down that Spitfire video and sign up for the Music Library Report. Much appreciated.


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## RonOrchComp (Sep 10, 2020)

I think this is it:


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## DimensionsTomorrow (Sep 10, 2020)

RonOrchComp said:


> I think this is it:




That was great! Thanks!


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## Daryl (Sep 11, 2020)

Most top tier libraries won't accept unsolicited work, as they make albums to brief, but if you don't send your stuff to them, they will never know how good you are...!

So send your music, preferably a short segment of a few tracks, as nobody wants to be wading though a 30 second drone, just to hear something useful.

Make sure you've done your research on the catalogue, so if you actually get to talk to someone, you know something about it.

Make sure you know how your music would fit in with what they already have.

Make sure your production standards are at least as good as what you're hearing from the existing catalogue.

One last point. If a library releases 5 albums a month, they already have hundreds of composers wanting tracks on those albums. These composers already have a track record of making money for the library. Why should they take a risk on you, and probably lose money? What makes you better than established, proven writers? You have to be able to answer those questions, in order to make your case.

Good luck.


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## DimensionsTomorrow (Sep 11, 2020)

Daryl said:


> Most top tier libraries won't accept unsolicited work, as they make albums to brief, but if you don't send your stuff to them, they will never know how good you are...!
> 
> So send your music, preferably a short segment of a few tracks, as nobody wants to be wading though a 30 second drone, just to hear something useful.
> 
> ...



Thanks. Good advice.

I have no illusions of grandeur. My hope would be to start small to learn the ropes and build from there.


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## Daryl (Sep 11, 2020)

DimensionsTomorrow said:


> I have no illusions of grandeur.


That's one of the most important things to learn. The music business is, well, a business. Any successful person who tells you otherwise is being disingenuous. Of course there is room for creativity, but end usage is the only thing that matters.

The other thing is that if you get even the sniff of a contact, you have to be on it, like a ferret up a drainpipe. Who am I? Have you found out? Can I be of use to you? The answer is "no", but you should have done your research already. Have you?


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## Yellow Studio (Sep 11, 2020)

https://www.gearslutz.com/board/mus...starting-out-music-composer.html#post12211039
There's a long list of libraries in that thread but you have to do the research yourself what could be right for your music.


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## DimensionsTomorrow (Sep 11, 2020)

Yellow Studio said:


> https://www.gearslutz.com/board/mus...starting-out-music-composer.html#post12211039
> There's a long list of libraries in that thread but you have to do the research yourself what could be right for your music.



Thanks very much for that. Glad I have a good day job, the discussions in that thread are grim. 😂


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## GtrString (Sep 11, 2020)

Library music; the market is oversaturated, the production lines are down due to C19, the libraries are eating up the fees while not compensating writers, the big companies are monopolising. As a small one size composer, you can kill yourself for free, or be discredited if you don't.

I wouldn't suggest this line of work to my fiercest foe. Keep your expectations at minimal, team up with someone, and don't quit your day jobs.


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## AdamKmusic (Sep 11, 2020)

I would say write an album of stuff you like writing then maybe pitch that to library. I think that’s how I got started, I’ve only been doing it around 1 1/2 year.


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## Vin (Sep 11, 2020)

The Composer's Guide to Library Music



https://courses.evenant.com/courses/author/59537
Great resources as well.


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## Daryl (Sep 11, 2020)

GtrString said:


> Library music; the market is oversaturated, the production lines are down due to C19, the libraries are eating up the fees while not compensating writers, the big companies are monopolising. As a small one size composer, you can kill yourself for free, or be discredited if you don't.
> 
> I wouldn't suggest this line of work to my fiercest foe. Keep your expectations at minimal, team up with someone, and don't quit your day jobs.


Well, there are downsides, and it is certainly more difficult to get into than it was 10 years ago, but there is still plenty of money to be made, if you have good distribution, and you are good enough as a composer.


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## DimensionsTomorrow (Sep 11, 2020)

AdamKmusic said:


> I would say write an album of stuff you like writing then maybe pitch that to library. I think that’s how I got started, I’ve only been doing it around 1 1/2 year.



That’s exactly what I had been considering. I just didn’t know anything about the mechanics of it.


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## AdamKmusic (Sep 11, 2020)

DimensionsTomorrow said:


> That’s exactly what I had been considering. I just didn’t know anything about the mechanics of it.


Do you mean as in approaching a library? I guess just research some & find out what kind of syncs then tend to get. The library I mostly write for focus on underscore for drama & real life documentary shows so perfect for broody tension & textural tracks which is what I love writing


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## DimensionsTomorrow (Sep 11, 2020)

AdamKmusic said:


> Do you mean as in approaching a library? I guess just research some & find out what kind of syncs then tend to get. The library I mostly write for focus on underscore for drama & real life documentary shows so perfect for broody tension & textural tracks which is what I love writing



Yes. Finding libraries, approaching libraries, if there is a standard track length, etc.

That’s awesome that you have found a library that is a good fit for your stuff. It’s good to know that it can be done!


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## AdamKmusic (Sep 11, 2020)

Between 2-3 mins is the standard with a clear structure like an intro section 1 1 B / middle / section 2 / 2b ending or outro


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## DimensionsTomorrow (Sep 11, 2020)

Vin said:


> The Composer's Guide to Library Music
> 
> 
> 
> ...



That book looks great! I just read the free chapter. Thanks!


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## DimensionsTomorrow (Sep 11, 2020)

AdamKmusic said:


> Between 2-3 mins is the standard with a clear structure like an intro section 1 1 B / middle / section 2 / 2b ending or outro



Thanks very much! This is very helpful!


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## muk (Sep 12, 2020)

How comes nobody mentioned Dan Graham's Sound on Sound articles about library music? It's a ten part series that covers all the basics. That's definitely where you should start investigating:






All About Library Music: Part 1


Production music is rarely glamorous, but it can be very lucrative. In the first of a major new series, we explain how to get your foot in the door.




www.soundonsound.com


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## CGR (Sep 12, 2020)

AdamKmusic said:


> I would say write an album of stuff you like writing then maybe pitch that to library. I think that’s how I got started, I’ve only been doing it around 1 1/2 year.


This is great advice. Trying to pull off a style that's just not your thing is a challenge, and often comes across as a pale imitation of the real deal. Not saying you shouldn't extend yourself and explore new styles & directions, but at the very core if you do what genuinely resonates with your musical DNA, then the integrity and "realness" will shine through. I've heard the adage "write what you know" in the world of writers or novelists, and I think the same thing applies to music to a certain extent, although the production music world is a different beast, and if you're happy to write to a brief and put aside any "artistic vision" then that's OK too for some.


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## muk (Sep 12, 2020)

CGR said:


> and if you're happy to write to a brief and put aside any "artistic vision" then that's OK too for some.



It's an old cliché. I don't buy it. Why is it that for production music, writing to a brief is considered as putting aside any artistic vision, while film music is considered the pinnacle of creative freedom and artistic achievement? At least with some directors, film music has actually way tighter constraints than production music. Truth is, as a pure copy cat you probably won't do well in either genre. When writing production music, a few requirements have to be met: length of the track (about 2 to 2 and a half minutes), easy to edit (simple and clear cut points for the music editor), and so on. Within these requirements, you are free to express yourself.

Anyway, there are two possible ways to pitch to music libraries. Either create a full album (10 to 12 tracks) with a clear and sellable concept. Research music libraries where your album fits into their catalog. That means that your writing and production are as good or better than the music they have in their catalogue. And your album concept is something that complements the music they have, but is also something they don't already have a ton of. Then it really comes down to your writing and production, and to not give up when not hearing back or being rejected.

The second method is to create 3 or 4 tracks in different styles that you do well, that represent you as a composer. Then pitch these tracks to libraries that are looking for new writers.

Either way, hone your writing and production skills, and be friendly, professional, and persistent when contacting libraries. That way sooner or later you will definitely get your chances to prove yourself. Good luck!


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## DimensionsTomorrow (Sep 12, 2020)

muk said:


> How comes nobody mentioned Dan Graham's Sound on Sound articles about library music? It's a ten part series that covers all the basics. That's definitely where you should start investigating:
> 
> 
> 
> ...



Thank you very much for these! I really appreciate you taking the time to point me to them.

I plan to try the 10-12 track album route. I’m working on something now in a genre/style I very much enjoy, so for me the experience will be good no matter what the outcome.

Also, the tips you provided are invaluable. Thanks very much.


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## ProfoundSilence (Sep 12, 2020)

The issue with library music that gets it the reputation it has - is that the market, and certain platforms end up rewarding a very specific type of music. 

You could pump out a bunch of corny up-beat corporate music for far less effort, much more likely to get buys than an intricate orchestral work, which has a much smaller demand. 

You can put in massive amounts of your own personal artistic vision/energy, but most people are going to go where the money is and churn out low effort marketable safe stuff - and that industry seems to reward that behavior.


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## muk (Sep 12, 2020)

It depends a lot on the libraries you write for I guess. As you write, the bad reputation probably comes from low tier royalty-free sites. Cheesy corporate tracks seem to always be in demand these. On higher tier exclusive libraries they are a non-starter. Styles are much more divers, and always changing. There is definitely a market for more sophisticated music too. My highest earning tracks to date are actually orchestral. Not full-blown Wagnerian tracks, mind you, but not happy-clappy ukulele tracks either. It's really important to write what you like, and then find the right library for your tracks.


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## Daryl (Sep 12, 2020)

ProfoundSilence said:


> You could pump out a bunch of corny up-beat corporate music for far less effort, much more likely to get buys than an intricate orchestral work, which has a much smaller demand.


This can be true, but the other side of that is that this sort of music gets lower licence fees, and often no Broadcast Royalties. It also has a much shorter shelf life, so you have to keep churning it out.


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## Richard Wilkinson (Sep 12, 2020)

Dan Graham‘s book is the best place to start. It’s very much a numbers game unless you get very lucky quickly!


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## CGR (Sep 12, 2020)

muk said:


> It's an old cliché. I don't buy it. Why is it that for production music, writing to a brief is considered as putting aside any artistic vision, while film music is considered the pinnacle of creative freedom and artistic achievement?



Don't understand your opposition here. You've inferred something about my post which is off the mark. I didn't suggest there was no artistic merit in writing to a brief, but that the decision to be made is if you are willing to explore other styles or musical choices outside of your personal style or inclinations.

I was once asked to produce an album of up-beat kid friendly music for a library, because that was lacking in their catalogue. One choice was throw myself into that brief, or ask myself if that was my thing or not, decline the job, and focus on what I feel I'm better at. Both valid options, and I chose the latter.


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## ProfoundSilence (Sep 12, 2020)

Daryl said:


> This can be true, but the other side of that is that this sort of music gets lower licence fees, and often no Broadcast Royalties. It also has a much shorter shelf life, so you have to keep churning it out.



Well the reality is that the actual quality doesn't matter a whole lot. Pleasing someone with an artistic vision for a serious project is a lot different than pleasing an intern working on a slideshow that people are going to be half awake for - so it doesnt require that you're actually really good as long as it's clean and produced reasonably well. 

To pull off the other stuff means there are less paying clients. This is important because the demand vs supply is actually going to cause that kind of music to be more saturated in a way - and you'll have to actually be better than the competition to get the sale/licensing/ect. 

Not to say that it's a bad thing, and if I ever hated myself enough to try to make money off music - I'd probably go the harder route, only because I feel like I'd be better off taking my chances doing something better than someone else than being as productive making something I can't stomach... But the reality is that MOST people are OBVIOUSLY not going to be the best at what they do... So the smarter choice for most people will be to try to do the right balance of quality and quantity at the stuff that has lower standards but way more buyers. 

In comparison, most people who make library music will probably never have the privilege of working with an orchestra - let alone could most of them even touch what you can do with one. Would definately be a waste of your time for you to make cliche business pitch music....


unless it's a track on your musical of course!


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## Daryl (Sep 12, 2020)

ProfoundSilence said:


> In comparison, most people who make library music will probably never have the privilege of working with an orchestra - let alone could most of them even touch what you can do with one. Would definately be a waste of your time for you to make cliche business pitch music....


That is true, but one makes opportunities. If someone wants to work with an orchestra, there is nothing stopping them doing so. I even tried to organise a shared session, but got next to no interest. I think that mostly you really do make your own luck in this business.



ProfoundSilence said:


> unless it's a track on your musical of course!


Yeah, well that's all gone quiet since the pandemic shut all theatres.


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## muk (Sep 12, 2020)

CGR said:


> Don't understand your opposition here. You've inferred something about my post which is off the mark.



Apologies, apparently I misunderstood your post.


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## ProfoundSilence (Sep 12, 2020)

Daryl said:


> Yeah, well that's all gone quiet since the pandemic shut all theatres.



There has to be some bit of irony, Zombie virus musical doesn't do well during real pandemic?

I suppose that's the more classical definition of comedy isn't it? If it comes to florida, I'll be sure to take my lady regardless, even if it's at a drive in theater...

wait, that's actually an awesome idea


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## BWG (Dec 7, 2020)

Another vote here for the Dan Graham book.

If you are going to write 10-12 tracks then I highly recommend spending some time understanding the flow of production music arrangements. As others have said the tracks need to be 2-3 mins in length. Pointless writing an amazing album of 5 minute long pieces because if a label hears that they'll just assume you don't know the business. 
Have a listen to some of the high end labels with Universal, Sony etc to give you an indication of arrangements etc.


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## Jeremy Spencer (Dec 8, 2020)

I wouldn't waste time completing a full album and pitching it. I'd submit a few demo tracks and get accepted that way instead. Inevitably, the production company wouldn't like every single song on the album, and they may have different requirements with regards to the track versions (1:00, 0:30, 0:15, etc).


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