# A few questions about Library Music/Indie Licensing Services



## rgames (Jul 16, 2007)

While waiting for the major studios to hire me for the next blockbuster  I thought I might submit some music to a few of the libraries and licensing services. But I'm uncertain about a few things so I thought I'd post some questions here.

1. What libraries/licensing services do you have experience with and recommend? Pump Audio is the only one I've seen mentioned here.

2. Of the ones I've found it seems most pay nothing up front, pay you half of the license fee for each license, and keep 25% of the total performance/broadcast royalites (half of publishing, so you keep all writing and half of publishing). Is that pretty standard?

3. "Royalty-Free" just means no mechanical license fees, right? So if my music winds up on a DVD or CD, I get no money other than the 50% of the "Royalty-Free" license fee paid for the track. But if it gets broadcast, I then get broadcast royalties. But Pump Audio, which is not "Royalty Free", would pay me part of the mechanical royalties if the track went to CD or DVD.

4. As I understand it, I can submit the same track to as many libraries as I want. They're simply acting as distributors. As long as they don't require exclusive licenses, I can sell the same track through 100 different libraries. Is that correct? As far as I can tell, I can also remove the tracks from the library at any time.

5. How is pricing determined? Do I set the price for the track? I know that's how it works for a couple of the libraries (or so they say, e.g. AudioSparx) but I haven't found that info for most of them. It seems like Pump Audio determines the price for its tracks.

6. Why is this so complicated?

Thanks in advance,

rgames


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## C.M.Dess (Jul 16, 2007)

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## John DeBorde (Jul 17, 2007)

C.M.Dess @ Mon Jul 16 said:


> I was unable to "pull" a few of my pieces from so called "non-exclusive" libraries some time back. They said that they send out 100s of "samplers" and cannot track down the client and direct them to not use pieces which are no longer available, plus some had already been used. My non-exclusive term was for only one year so it really is confusing why pulling pieces isn't an option. Confusing why they don't mention the term is forever.
> 
> To add further insult, I also use a publisher who works exclusively, and they were uninterested in the tracks that had been licensed non-exclusively since they could not effectively be pulled. So in their own way, the tracks became exclusive to non-exclusive libraries.
> 
> Then I said goodbye to non-exclusives and slammed the door. (cried a little in the name of self-pity). :D



Yes, I've had this happen too where an exclusive library (which could arguably provide more & better placements) was not interested in tracks that I had previously licensed to "non-exclusive" libraries, so think carefully before you do this. 

They don't want clients calling and saying they heard one of their tracks in a cheaper library.

BTW, the best deal I've heard of out there is when the exclusive term is finite, and control returns to you after a set period if they aren't getting you placements.

good luck!

john


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## C.M.Dess (Aug 4, 2007)

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## Nathan Allen Pinard (Aug 4, 2007)

So does anyone have a list of libraries to go for? Or is this something most composers won't disclose because it's their competitive edge (first come first served kinda thing)

I compose primarly orchestral, or orchestra/hybrid (rmx, E guitar, etc) so I'm curious if theres anywhere I could go for this.

Ty for the video link, and ty for the cons of non-exclusive. I figured there were loopholes in this term.

EDIT: I'm also seeing a huge amount of 'royalty free' libraries. Is this something you wish to avoid?


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## videohlper (Aug 8, 2007)

To give a few pieces of advice regarding production music:

1. *NON-EXCLUSIVE AGREEMENTS*: Unless you're licensing a band/artist track for placement in films and TV (for example, the music already exists on iTunes or on CD on sale), I wouldn't suggest doing a non-exclusive. It can get hairy legally. 

2. *Send your best stuff*. If someone hears work that seems lazy or phoned-in, you get mentally blacklisted. Trust me on this one. Think of the submissions as an audition.

3. When you submit stuff to libraries, you should *go to their websites and listen to what they sound like* and a) either convince them you fit right in or b) convince them you can help change their sound so drastically they can't afford NOT to hire you. Personally I suggest "a," although "b" has actually worked for a few select people.

4. *Production music is not "throw-away" music*. It's not music that people turn to when they don't have the budgets or time to do something "properly." A lot of clients like to mix/match cuts on their own, making themselves a much more integral part of the creative process. Editors who even have the budget to go with custom music sometimes go with production music and have done some great work.

5. There are usually two ways of selling your music to libraries:

a. *Provide it for free and have the libraries pay you 50% of the synch licensing*. This usually works of the library is one of those libraries that does primarily film trailers, as the synch fees are usually in the 2k to 6k range per track. Since film trailers pay nothing for performance, there's your income. The company owns the publishing, you keep the writer's (100%)

b. *Get paid an upfront fee and you keep the writer's (100%) *-- this work for companies that get a large amount of TV work. Because the major networks and cable companies use music for promos and in-show, you end up with a revenue stream that can last YEARS. The company owns publishing and keeps the synch, which in the case of TV and cable can be about $100 per use.

c. There are some companies that do a upfront AND % of synch deal -- but that's quite rare -- and I haven't heard of many companies doing that in the past few years.

Anyway, all are pretty decent deals -- you should ask the company in question what kind of work they do and go from there.

6. Here are some of the bigger, more reputable library companies you can contact:

*PROD MUSIC (TV)*: 615 Music, Megatrax, Non Stop Music, Firstcom Music, Extreme Music, Killer Tracks, Omnimusic, Groove Addicts, KPM -- and I guess those idiots at VideoHelper :D to name a few. My personal fave (outside of the obvious) is KPM -- they are great people, honestly love music and have an amazing library as a result.

*TRAILER MUSIC*: Immediate Music, Selectracks, Extreme (Director's Cuts library), Pfieffer Brothers, Two Steps From hell and X-Ray Dogs. 

I hope this helps a little. If you need more specific questions answered, PM me and I'll give you some more info or help any way I can. 

Stew
www.VideoHelper.com


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## Jaap (Jan 14, 2008)

Sorry for bumping this old thread, but I wouldnt create a new one since this one covered almost any of my questions.

I have a few additional questions since I do not find very clear answers when browsing the companies websites.

- do they accept sampled music in general (with the official Ewql libraries and some additional smaller ones)?

- I assume as composer you deliver the final mix or do some of them remix it to their standards? I have listened to some of the samples and I got the idea somethimes that they were mixed by the same person, allthough it were different composers.

- it is hard to find the good conditions for composers on their websites. Anything in particular I need to be aware of, beside what is said here already?

Thanks 

Jaap


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## videohlper (Jan 14, 2008)

Jaap:

1. Most libraries accept sampled music. Very, very few (actually none come to mind) would turn down a well-written and convincing mock-up. However, if the piece features spare instrumentation or a solo/isolated instrument, then they might request a live player instead.

2. It varies from library to library, but most that I know require that you do your own mix upon delivery. Some libraries might request stripes (broken out tracks of percussion, etc), but again, that's pretty rare. Usually, the mix is a delicate issue, and it's best left to the creative rather than the corporate.

What might be the issue is mastering. Some companies want their composers to submit mastered, finalized pieces while some, like my company, request that we do the mastering so that everything has a somewhat uniform sound to it.

Plus, some people's idea of mastering is throwing an L2 on and crushing the thing into one giant sonic piece of impacted fecal matter. Ugh. Louder is not necssarily better. 

3. Since each company has its own conditions/rules/fetishes, you'll have to contact the libraries you like directly for more info. There's one company, for example, that requires that not only do you have to submit the music to them on 8-track tape, but you also must compose the music while dressed like Stalin. Go figure.

Good luck.

Stew


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## Jaap (Jan 14, 2008)

Thanks Stew for this great info!

I am afraid I have only one problem. When composing I write only on old pianola roles (i love to stick pins in things) and my favorite relaxing clothing is a yeti suite with a pink marlyn monroe like dress, but ah well who knows they will give me a chance...


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## vlado hudec (Apr 11, 2008)

Hi guys,

I am in contact with a few music libraries,which don't pay upfront,but money goes 50/50.

Have you any experiences with this type of paying?

I must say,I have some doubts. My question is: How could I control a usage /placement/ of my tracks in this case? f.e. company sell my track for $100,so $50 would be mine. But may it be,that company concreal the selling of my track and don't pay me the money? Is this possible?

So is there any possibility of control of usage?

Thanks

Vlado


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