615 Music

Rating: 5.9/10. From 7 votes.
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If you are a composer and/or songwriter, please leave your comments and experiences with this company. We want to hear the good as well as the bad! Please rate, from 1 to 10, by clicking on one of the stars. Below is some general information but we make no guarantee of accuracy. Check with the company for all details. Please contact us for any corrections.

URL: http://www.615music.com
Accepting Submissions:Yes
Submit Online:No
Submit By Mail:Yes
Submissions Reviewed:Yes
Types Accepted:
  • Vocals
  • Instrumentals
Charge For Submissions:No
Up Front Money:
Royalty Free:
(non-broadcast use)
(Exclusive, Non, Semi)

(Semi = Free to place on own
but not with another library)
Re-Title: Yes
Set Own Price:No
Contract Length:3 Years
Payment Schedule:Quarterly
License Fee Split:
PRO Split Based on 100%:
or writer)
Requires Licensee To File Cue Sheet:Yes
Pays On Blanket License:
YouTube Content ID:
Active Site:Yes
Offers Subscriptions To Clients:

30 Replies to “615 Music”

  1. Warner/Chappell buys 615 Music


    615 Music, a longtime Nashville production company that creates music for film and television, has been bought by Warner/Chappell Music in a move that expands the presence of the global music publishing firm in broadcast music.

    The deal also gives Nashville’s 615 access to Warner’s global roster of clients.

    Terms remain undisclosed, but 615 Music’s President and CEO Randy Wachtler will remain at the helm in Nashville under the new title of executive vice president, he said Friday.

    “Warner/Chappell has such a global presence that I think (it) will really extend our reach more thoroughly,” Wachtler said. His company will work under the Warner umbrella along with former competitor Salt Lake City-based Non-Stop Music, which has sold music and jingles to TV, radio and advertisers for 28 years.

    Wachler started 615 Music, named after Nashville’s area code, 25 years ago.

    In recent years, Wachtler said he has seen demand for such production music soar.

    “With the explosion of cable channels over the past few years and all these media platforms, there has been a greater need for background production music,” Wachtler said. “I see that trend continuing, because mostly what we do is very affordable for broadcasters and TV production companies. I see the need increasing as media platforms become more prevalent.”

    Online-only broadcasts, webisodes, for example, are a growing portion of the business as well, he said.

    Demand for the style of production music also has changed considerably, making a move to music production experts Warner/Chappell even more advantageous because of its catalogue of big-name artists and their songs, according to Wachtler.

    “In the early days, it was just music, or jingles, but it has really turned into songs that our clients are looking for,” Wachtler said. “They reference all the things they hear on the radio and online, and sometimes they can’t afford some of the bigger hit songs. So, many times they’ll come to us for things that sound almost as good but for an affordable price.”

    Working within Warner/Chappell also allows clients, particularly high-profile television shows, to license popular music from Warner/Chappell’s rosters and work closely with 615 Music for “background cues” that are often part of the TV broadcast.

    Wachtler’s company relies on a roster of songwriters and composers in Nashville and around the country, and he said the company’s need for such music creators could expand. 615 Music earned a 2010 Daytime Emmy for Outstanding Original Song for “Your Day is Today,” written by Wachtler and songwriter Greg Barnhill for the Today show on NBC.

    Reach Tennessean music business reporter Anita Wadhwani at [email protected] or 615-259-8092.

    (Hey Art, if you don’t want articles posted, feel free to delete. This was in the local news this morning.)

  2. I can vouch for 615’s professionalism. I visited their office on Music Row in Nashville last week. Aaron Gant and Randy Wachtler both were generous with their time and seemed like good, honest people. I haven’t yet signed any songs to 615, but would feel confident in doing so.

    Has anybody reading this thread had placements through 615, and seen any $$$? Please share your experiences.

    Cheers, Eliot Pister.

  3. I was considering submitting library music but I can’t help but think that any library with that many songs in it would be next to impossible to actually be heard by anybody other than the library you send it to much less used. Add to that the exclusive aspect and it really seems like you’re sending your music into oblivion for 3 years where it will sit until you can get it back. Am I wrong?

    1. From what Tim wrote, it sounds like they only take 50% of license fees. You keep the writers and publishers royalties. Depending on where the music is used, this could be really lucrative (or not, if it’s non broadcast), essentially you’re getting twice the royalties you’d normally get with other libraries. Also, with a reversion clause, set to three years, it’s a lot better than some (most?) exclusive deals that lock your music away forever. Lastly, being an established library, they have business relationships already set up. Even though there might be a lot of tracks to compete with, your music might have a better chance of being used, when compared to a brand new library with a small catalog. Just my $0.02 worth.

      1. I would very much doubt that the composer keeps the publishing flow from the PROs. Tim said that they become the “exclusive representative for synchronization purposes only”, which in lay terms means they administer and get paid the publishing revenue resulting from any placement for that song. It also means 615 won’t take any revenue NOT resulting from their placement (i.e. if the artist sells records and earns mechanical royalties or radio airplay royalties). Tim says the composer remains the publisher, but that doesn’t mean he gets paid the publishing portion…..615 will be collecting and keeping it. The deal Tim outlined above is quite typical for libraries – 50% of sync, and 50% of back end. They don’t own your stuff (these were not “work-for-hire” contracts), they rent it (at no cost) exclusively for a finite term. Very standard.

  4. Hello all,

    My name is Tim Dahl and I work for 615 Music music, and more specifically with our digital initiative known as Song Street Records. To help clear up any confusion regarding agreements I wanted to list here how things have changed over the past year and what the current deal structure is.

    615 Song Catalog is now known as Song Street Records. The music held within is the same but with a new name. We wanted to market the music held there in a new way to help get it out to the masses easier and help secure placements!

    We used to use a non-exclusive agreement with 615 Song Catalog. In recent times the industry has been changing and moving away from that model. After much deliberation about should we or shouldn’t we, we have now moved to a new exclusive model with Song Street Records. This model is a bit different from the traditional exclusive deals. Here’s the bullet points…

    50/50 split on placements
    Writer/publisher keeps publishing
    We don’t re-title and don’t own your music
    We become your exclusive representative for synchronization purposes only
    The term is still 3 years and we still pay quarterly

    I hope this helps to clear up any questions. We do have other work for hire type agreements but those are geared toward our library work. The music held with Song Street is an entirely separate group of songs.

    If anyone ever has questions for us at 615 Music and Song Street records, please check out our website and send an e-mail or give us a call. We’ll be happy to talk with you and answer any questions you may have!

    Thanks everyone!


      1. Hi Tim,

        Am we correct in understanding that Song Street deals solely with Indie Artists / vocal songs, and the library is where all your instrumental material lies?

        Thanks, Eliot Pister.

    1. Hi Tim,

      Over a year ago i submitted to “615” Songstreet records I’ve got about 10 tunes there, inst’s
      never heard anything, but there’s no edit button for song removal, I’ve since licensed all those tunes out and need them removed. Can you help me in some way.


    1. 615 has ALWAYS been exclusive… 615 song catalog is a separate thing and now are changing to song street records.

  5. Is it possible to submit to both 615 Music and 615 Song Catalog? I submitted to the Song Catalog just a few days ago, but I’m wondering if I could also mail 615 Music my tracks? I am just wondering– what is the value in an Exclusive contract? Is it more money upfront? Is the library more aggressive about placement?

    Thanks for your insight!


    1. Not from what I read. You have to go to 615 Song Catalog to create an account and upload. 615 Music is mail only. I just listed 615 Song Catalog.

      1. 615 Music is EXCLUSIVE
        Contract Length: Indefinite (work for hire)
        Payment Schedule: PRO Money Only
        License Fee Split: 0/100
        PRO Split Based on 100%: 50/50

        What you have listed now is for 615 Song Catalog and it is completely different deal.

  6. Hi Mark
    My take would be if they make a point of recommending against it, then don’t put tracks in their library and others. If they end up encountering a conflict, it certainly won’t enhance your relationship with them.

    I called or emailed them once about submissions and they did emphasize that they don’t want to compete with other libraries for the same tracks. So whether it’s written into the contract or just their guidelines, I say if you work with them honor their wishes.


  7. Just to reiterate what was said earlier. They are non-exclusive but they are exclusive as far as other libraries. You can sign songs with them and still pitch for artists, etc but not to other libraries. This may not be clear on their website, I don’t recall.

  8. I contacted them once, but never got around to submitting. The did answer my email promptly and give info about submissions. I asked if their deal was exclusive- it is with respect to other music libraries. You can still pitch songs for artists and other applications but they don’t want to compete with other libraries on your tracks. They are not the only library that has this policy and there are understandable reasons for it. A big concern out there is the same track landing on a music supervisor’s desk from multiple sources. It can cause problems and bidding wars.

    As much as most of us don’t like exclusives, often the most successful libraries are. Their clients like knowing that they truly are the only representative of the tracks presented and there will be no conflicts.

    Exclusive only as far as other libraries is a decent compromise. In fact, there is a valid school of thought that one shouldn’t put the same tracks in multiple non-exclusive libraries anyway, if they serve similar markets.

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