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Newbie Questions

One of our readers, Ev, came up with the suggestion to have a section devoted to newbie questions regarding music libraries, music licensing, copyright, music publishing etc. There a lot of experienced people on this site and many are happy to share their wisdom. So, if you are a newbie (or not), and have a question, try leaving it here.

Of course many questions have already been answered here. First try searching in the search bar in the upper right hand corner. Also Google is your friend! I have found one of the best ways to search a site is use site specific criteria at Google’s web site. In other words, to search for a specific keyword, say “contracts”, type it in at Google like this “contracts site:musiclibraryreport.com”. Do not use the quotes.

If you still can’t find your answer then leave a comment here and someone will most likely come to your rescue!

1,260 thoughts on “Newbie Questions”

  1. I have two quick questions if someone could answer them for me:

    1. Someone downloaded a track of mine with the license:

    Medium: Student or educational non-commercial project or production use only
    Use at Festival or Pre-Distribution Screening Permitted: Yes
    Territory: World
    Term: For the life of your project or production
    Media: All Media
    Restrictions: You may not distribute, broadcast, sell, give away, trade or otherwise exploit your product or production for commercial gain.

    I asked them what it was being used for and they said it was for an online radio show they do. Should they not pay for my music to be used, rather than get it for free, or am I missing something here?

    2. I know my music was used on TV. I told my PRO and they said that ASCAP have requested the following information:

    Specific dates and start times for the Today Show
    First line spoken, sung or written on each promotion
    Signed Music Agreement – If you signed a music agreement for your music to be played on the stations in question. This would have been signed possibly between yourself and the TV station, placement company or other third party.

    I don’t know the times/dates as a friend said they heard it (it was definitively my track). I haven’t a clue about the first line spoken etc. and as my music is on about 20 music libraries at the moment, I’m obviously not going to send them all of those contracts.

    Any information on the above two points would be greatly appreciated, or if you’ve been in this position before 😉

    Cheers

    Emmett

  2. Do I need melodies for all my music? Not a great melody writer and I’ve head lots of background music without melodies hurts your chances or if it just means it’d for a supervisor who’s not focused on melodies. My music tends to convey more mood than it does lead the listener down a melodic road though I’m working on it. I’ve had my music critiqued and usually I get comments like “Why’d you choose that synth, or piano or oboe or rat trap or whatever to play the melody” so that may be another issue I have pairing the instrument to the melody (that’s the flip side of peer to peer critiques. That’s why I generally prefer to hear from people who actually use music but that’s another post)

  3. I’ve had four tracks earning about 15K per year for the past eight years, I have other tracks that earned about $200 each per year. I suppose that if you had 1000 tracks you’d be doing pretty well.

    • Where did you get those four tracks placed? Hearing that you’re earning money like that gives me some encouragment.

      • The four tracks in question were placed directly by a library publisher as themes on some TV shows … a one in a million shot.

        For reasons that I cannot discuss, except to say that I was given a “co-writer” who has probably never heard the tracks in question, the figure that I mentioned is only half of the royalties that I should have gotten.

  4. I’m relatively new at the music licensing game, but writing and recording is a huge passion of mine, and I’d love to take a stab at doing it for a living…..which brings me to my question. What kind of living can I make at licensing music? I’ve read posts on here where people say they make a “decent” living at it……so is that $40,000 a year? Or more? How big a catalog do you need to have a shot at it?

    • I could be wrong but I would assume it’s more like a feast or famine kind of thing. Someone might make $40,000 last year but what did they make this year? $40? 0.40 cents? What will they make next year? $1,040,000? I guess if you have enough tracks ,and what constitutes “enough” is anyone’s guess, in enough libraries spread out you could probably earn that aforementioned, “decent living.”

      Then again, if you place just one song in a huge world wide advertising campaign you could bank big enough to take the next year off but your chances of getting struck by lightening twice on the same day are probably better.

      Here’s how I look at it. I have a nonmusic day job that I enjoy doing and pays me well. However, there’s a mandatory retirement that I I’m facing so I just want to plant as many seeds (place my songs with libraries) as I can so that by the time I retire, I’ll have something to supplement my income. Hopefully.

    • I’ve always found the numbers and stats fascinating because patterns do emerge over time. I’d say, in simple terms – from my experience anyway – 150 tracks in the system (which takes 1-2 years) with a decent library (i.e. not one of the new breed on non-exclusives) will bring in $30-40k.

      I’ve been doing it 7 years-ish. Year one about $100 in total royalties. This year $100K mostly library income but a few extras in there also. It’s increased consistently on an upward curve. I have 350 tracks out there and by the end of this year that will be 400 with 4 top libraries. In my first few years I was still doing a day job which I hated. Then I realised if I packed it in I could increase my output 2-3 fold. Which I did (with alot of support from the girlfriend!) and now aim to write 70-ish trax a year. It is getting more difficult though so you do have reinvent yourself occasionally and not rely on one publisher.

      The great thing about this biz is there is no earnings ceiling. I know a few library composers who are earning serious money – 150K +

      • Thanks for the response, Jello. It would be a dream come true if I could quit my job and earn $40K, much less $100K. Congratulations!

        What styles of music do you write and what libraries are you with?

      • How do you define “top libraries?” Do you mean something like APM? .. or PUMP and Audiosocket vs. fill-in-the blank music ? In other words do you mean exclusive vs. non-exclusive, or established non-exclusive vs. put -up- a -webpage- yesterday non-exclusive?

        • Hi Anon,

          I wouldn’t touch a non-exclusive library for many reasons – the model is flawed and I’d rather not go down that cul-de-sac. Just wouldn’t work for me – having 300 tracks sitting around earning virtually nothing would be very depressing.

          Defining ‘top libraries’ – from experience of just doing this 24/7 for a few years and being fortunate enough to know some really top composers, well you get a feel for who is gonna earn real money. I’m based in the UK so, for example, I wouldn’t bother with anyone outside of KPM, Universal, De Wolfe, Boosey, West One, Audio Network. There’s hundreds of libraries – as you can see on here – but how many will generate decent earnings? Very few IMO.

          I don’t think you can work professionally by not working with any of the above – in the UK at least.

          As for styles of music – all sorts. For example just finished an album which was, I suppose, mainly classical where we put a massive emphasis on getting real instruments in and great musiciains in to do the sessions so there was a real quality to the playing.

          • Hi Jello, I’ve almost the complete opposite experience – exclusive libraries that have my music sitting on a shelf collecting dust, while non-exclusives make me far more income.

    • Hi MichaelL, the link is working for me. Make sure you are getting the whole URL if you are cutting and pasting. It’s their article number KB2034.

  6. Hi everyone

    Just wanted to say this site is golden – its got such great advice here.

    I’m new to music libraries – having done my first music this year.

    Well its been a massive climb up the hill, one of the biggest probs ive found is getting infomation about how to begin in this field so its great to hear everyones voice on here.

    I’ve done my first 6 tracks for universal this year which im really pleased about but am really struggling to find out what to do next. I’ve honestly felt like folding at times because i’ve no money as of yet – and am struggling to stay strong, keep at it, believe its possible etc, ive at least another 30 tracks sat on my hard drive and ive no idea what to do with them so the help here is fantastic for this lost composer, great comunity everyone.

    dustin

  9. I apologize in advance. I actually meant to post this under the newbie area instead of a specific library to get some feedback from a broader range of people having success at making sucessful library music.
    Anybody willing to give me give these 3 tunes of completely different styles (country/orchestral-ish and funky) a quick listen ?
    http://www.musicdealers.com/artist/pbestand give me some tips on what I need to do to improve my chances of being selected in terms of overall quality, quality of sounds used, format, length, too thin sounding etc and especially whether or not it’s “broadcast quality ” able? That’s my biggest hangup. Being self contained.
    I’d appreciate whatever input you have.
    Just trying not to spin my wheels in this new venture.

    • Here’s what I thought, just take with a grain o’ salt!

      Country Kickin: The sounds are great, and the mix is good, but it’s too repetitive. It also lacks compelling transitions, like nice big fills. The changes are very abrupt. It would be hard for an editor to use the track as is, because of the abrupt changes.

      It’s OK: The palette is a little cheesy, although the instruments individually sound OK. The music is nice, just not represented well enough with the production. Again, it lacks nice solid transitions (editors often edit from the end of a track / section of music and work backwards).

      Don’t Mess Around: Cool palette, although the shaker is a little out of place with all the hi tech sounds. This track could be a little more hip and modern sounding, as it currently sounds like something made in the late 90’s. I suggest replacing most of the synth elements with some cool modern synths. The drums are ok but get too repetitive. Again, there’s a lot of room for cool fills and transitions.

      Overall the sounds you’re using are good enough for broadcast, and the mixes are pretty good. However, I think you need to use some more cutting edge elements, and work on the transitions into each section (and the endings).

      As a side note, I didn’t really come away with a melody stuck in my head. I’ve found that most people (editors/producers included) like a track a lot more if the melodies are compelling. I think it’s even more important than what drum loop or synth you’re using.

      • Thanks alot for the honest input Matt. You just gave me quite a bit to think about and a good deal of useful information..
        At least my mixes can get by so I can focus more on content. I’ve had Taxi reviewers tell me the drums were too busy so I tried to tone it down but as you say, depends on who’s listening.
        One thing that does confuse me a bit and that’s the fact that often I hear library music on tv that to me isn’t very exciting at all like travel music, food commercials floor cleaner etc. Seems sometimes the most boring music is picked up by supervisors who didn’t want the music to be the star. Maybe I’m talking a totally different area of the market but I’ve been listening more to commercials now since I’m interested in that and with exceptions like “You can go with this or you can go with that” car commercial which kicks azz in my view, most tv/film music I notice is less than cutting edge to my ears. That’s not to say that I don’t agree it would give me a better edge.
        If I could come up with some cutting edge stuff that’s usable I’d be pretty damn happy. I seem to have trouble completing what I believe to be the start of a good idea and somewhere along the line I lose focus of the target audience and often under produce or under produce.
        But THE most amazing and confusing thing to me is tv often only uses a few seconds of a piece of music.
        so I often ask myself how much song do I really need for that?
        Maybe I’m confused as to which submarket of tv/film music I’m best suited for.
        Thanks again for your thoughts. Lots to think about. I don’t know how people here have hundreds of songs at these libraries. If I can do a piece in a week I think I’m doing something.
        Pat

        • You bring up some really good points – some commercials use music as generic as the stuff you might hear on HGTV. Other times, it’s amazing, unique and perfect for the spot. I don’t why that is, other than perhaps there is too many cooks in the kitchen when the generic stuff is the result.
          You’re right, most reality show use short pieces of music, but you still want to encourage the editors to use as much of your tracks as possible, by keeping the interest going, and building exciting transitions.
          I’m guessing you have a day job, and if you do one track a week, then I think you’re doing pretty well. I quit my day job about five years ago, and since then have been able to produce 2-5 tracks a week, Sometimes more if I’m working on a show and they just want me to churn stuff out. The catch is, you can only make a decent living from writing music if you build up a number of good passive income streams – performance royalties, license fees etc, but you only get that by having a lot of good music out there!

          • As I mentioned to MichelL, since getting laid off I have all day to write for at least a year or two so I’m making a go at it.
            You mentioned transitions which I’m a bit confused about.
            On the one hand, I’ve read that music supervisors don’t like key changes because it’s hard to edit so when you talk about transitions are you talking about changes within the same key or are certain kinds of key changes acceptable. Kinda blurry on that one.
            I could use a little more clarity on what good “transitions” in library music sound like as it pertains to library music. Got any links that demonstrate that pretty well?
            Thanks
            Pat

        • Hi Pat,

          I’m agree with Matt’s comments above.

          Country Kickin: the sounds and mix are good. The transitions are abrupt. Editors are going to have problems working with the “out of time feel” that you go to frequently.

          It’s OK: I think the palette sounds a bit dated — 90s, maybe even 80’s. The track starts out feeling new age and then sort of feels island/tropical. Try replacing the new age harp with a marimba. The tambourine is too high in the mix.

          Don’t Mess Around: pretty much what Matt said.

          Overall: Some of the sounds need updating. As Matt said you need some “cool modern synths and cutting edge elements.” Check out Omnisphere and Evolve.

          Check this link out for more modern sounds: http://contest.spectrasonics.net/

          With respect to supervisors using the “most boring music” — no the music is not the star. It’s not meant to be. The product being sold, the actor acting, etc is. This is not where we get to make our grand artistic statements. There are exceptions of course, particularly where the music supervisor/production demand authenticity. In other words, when they want/need the real deal, i.e., a real country artist or hip hop artist….
          not just another media composer trying to sound country or hip hop or fill-in-the-blank.

          Unfortunately, this is a business of quantity. You need a lot of tracks. I was away from the business for about 10 years, but at the top of my game I was producing one or two library tracks in a day. For film scoring, depending on the complexity, I was writing 2-3 minutes per day. But this isn’t about me — it’s about you. How many hours per day can you put in? How much can you invest in equipment?

          I don’t know what the requirements are for many of these libraries, but you may want to consider providing them with a “bed” version, along with :60, :30, :15, and even :10 second edits.

          Food for thought. Obviously you’ve got a strong desire to do this. Just keep at it, but know what you got to invest in time and money.

          AND keep learning/studying.

          Best

          Michael

          • I sure appreciate your input MichaelL.
            I know opinions vary but when the opinions are similar to others in this business who have commented on my music in the business I have to take that as informed opinions.
            The Omnisphere links are killer and helps me thing more high end. I need to get my ears used to high quality sound until low quality is offensive if that makes sense.
            Ironically, I have Omnisphere as well as Evolve and all the NI stuff. I haven’t using Omnisphere much because it’s ram use limited my ability to use my other synths instead like the NI plugins Massive. I also use Stylus RMX because the quality of sounds that come with the expansions helps with the sound quality for broadcast readiness. I have the most popular soft synths out there but I never was much for wanting to be a true synth programmer spending my days trying to be a sound designer. I felt using Omnisphere presets would be a dead giveaway but now I’m thinking it’s more about quality and application.
            Writing 2 or 3 pieces a day or even finishing one would be a hell of a challenge for me but I think that may be only because I end up second guessing each step which wastes alot of time not being sure how the structure the pieces (not talking about edits here but the song itself). I’m always stuck trying t figure out should be, for example, song style with intro, 2 versus 2 choruses and an end 2 verses or one long loops type song with various elements thrown in and out of it to make it supervisor friendly, melodies or not etc. Having a loose song template or two would probably help me stay on track.
            Having been laid off I’m able to devote most if not all of my day to this for at least for the next year or two depending on how it’s going so I consider this my golden and probably only opportunity to realize this dream of mine. That’s why I’m always posting and hustling to get good usable info. I don’t want to write 100 pieces that are all flawed by either production, sounds content or all of the above on the most fundamental level.
            I will start looking at my plugins now for quality rather than simplicity for a start . I guess even presets from a killer synth with minor adjustments would be better than not using them at all at least till I get a better grip on how to make my own sounds out of them.
            I believe I could write at least one or 2 pieces a day if I had some sort of structured formula that I have some level of confidence in so I always look ahead instead of second guessing. As I said, I have the most important tools which is time and a hunger to do it now I need knowledge.
            Running into this site a couple of weeks ago by accident was probably the biggest breakthrough for me and the people like yourself have been very generous sharing what they know.
            Hopefully, I can do this.

            • Hey Pat,

              You’re worrying too much about every detail — like tweaking sounds. In 20+ years, I’ve never had the question come up.

              But, if you want to, watch these Omnisphere videos. http://www.spectrasonics.net/instruments/omnisphere_videos.php

              You’re worrying a lot, maybe too much, about about form, intros, verses, choruses, etc. Library tracks aren’t songs per se. A 30 second commercial can’t have a 15 second intro. You’ve got to get into it pretty quickly.

              You say that you play by ear. Try to study some, so that you get a good harmonic foundation. You can get a lot of information online. AND listen listen listen. Listen outside your comfort zone. What you like, may not be what is in vogue. Knowledge, packing your tool kit, will help you write better and faster.

              Go to the websites for some of the libraries, scroll through the categories and listen to the tracks — especially the libraries that tell you what their most popular tracks are.

              As far as second guessing goes — don’t. I’d bet that more than one composer here can tell you stories about how something they tossed off in a few hours, and didn’t think much of, turned out to be their biggest money maker, while something they labored over is gathering dust.

              Go in with your eyes open.

              Best,

              Michael

              • Your insight is golden Michael.
                I checked out those Omnisphere videos. Killer crazy is all I can say. Very inspirational to say the least. Makes you want to site at the keyboard and not get up for days.
                You may be right. I tend to get hung up on the little things that slow down the process of writing music and I also have me down.
                I started going to these libraries and bookmark them so I can listen and get immersed in everything I can.
                It used to take me a month or more to finish a piece now I got it down to a week and I’m trying to get it down to a day or two the who knows maybe even 1 a day. My biggest challenge right now is dumping some of these old time wasting habits but at least now I’m becoming very keen to it.

                • Hey Pat,

                  There’s nothing really golden about my advice. I’ve just been making music a long long time. The library business has changed dramatically in the 10 years that I wasn’t active (working on a different career). So — now I’m trying to learn this business model.

                  Based upon your other answers, you’ve got a decent setup. There’s no reason that you can’t do broadcast quality work. You may want too look into some mastering software — like Ozone.

                  The main thing is to expand your internal toolkit. I still study — everyday.

                  Best,

                  Michael

      • Hey Matt,

        I’d like to hear some of your tracks. You seem to really have a grasp on the industry today.

        Best,

        Michael

        • ditto as well as generally what level of equipment you used. If you’re using a million dollars worth of studio gear I’d be wasting my time thinking I could emulate that with my setup. Just want to stay realistic about the limitations when I hear some of these high dollar sounding cinema pro type setups.

          • Hi Pat,

            My setup: Mac Pro 12 core, East West Quantum Leap Platinum Pro Orchestra, Symphobia, LA Scoring Strings, Project Sam Brass, Hollywoodwinds, Drums of War, Cinetoms, Cinesnares, Cineharp, EW Symphonic Choirs, EW Voices of Passion, EW Storm Drum 2, EW RA, EW Gypsy, EW Ministry of Rock, Omnisphere, Trilian, Evolve Mutations I & II, True Strike Tension, Ivory Pianos, Chris Hein Guitars, BFD, BFD2, VE Ensemble, VE Epic Orchestra, Kontakt 4, Digital Performer 7, Logic 9, Ozone 4, Alloy, Altiverb.

            This is the fourth or fifth incarnation of my studio.

            Michael

            • Hi MichaelL,
              That’s a hell of a setup and some pretty high end stuff. I have EWQLSO silver, Omnisphere, Trilian, Stylus RMX, Evolve, Kontakt4, all of Native instruments, Sylenth1, Superior drummer 2, Real guitar 2, and Massive and various guitar amp sims that I put away for now because my lack of great mixing really brings down the quality of my recordings so I’m sticking to the software. Running Cubase 4.
              .My Computer is a first generation Neko64 workstation upgraded to 4th generation.

              • hi pat.

                Just read your post, can i offer my opinion, my principle thing is to get a bright clean loud sound, this kind of is more important to me than anything.

                You said your having a problem with the mixdown.

                Looking at your kit list there , it all seems fine, quality inst etc. There is one small change that will turn your world upside down and make everything much easier during mixdown, I suggest a switch from cubase to logic. I always struggled with cubase, it just seemed to make a cluttered sound when i added more and more lines, i struggled so much, logic just holds it and is pretty standardly known as a better platform. I immediately felt its clarity from day one. ive been doin library for universal this year and i know if i had stuck with cubase on pc i couldnt have done it. it just pours out clarity even if you dont use lots of effects. Hope its ok to put my 2pence on you for this…. i so wish i had switched from cubase to logic a long time ago, my mixdowns are so clear now. You have to run logic on mac which may be a prob as they r exp, but its so worth it. You can run a ‘hackintosh’ on a pc now, it runs a virtual mac on a pc, free too…logic runs ok on it. The operating of logic is v.similar to cubase and if you watch a couple of tutorial videos, takes about 2 hrs you learn it all. its so similar interface.

                • Hi dustin,
                  Thanks for your input. I’ll tell ya though, I never thought there was much audible difference in the sound between those two but I never compared them side by side. There would have to be a big difference before I even considered learning another daw. I’ll keep an open mind though and check different places and see what most people seem to think but I can’t imagine the difference being that great or I would think logic would be out selling Cubase whaich I don’t think it’s doing.

                  • the difference in transparancy is so huge…so huge.
                    i felt so bad that for so many years i had not changed, my friend came over, he had been making music for one month on logic and i had been making music for 15yrs on cubase, releasing records for bout 10yrs, i felt so so aware his sounded clearer, he had no idea of mixing etc..i knew i had to switch on that day – about 3yrs ago now…
                    its such a diff and i really would wanna say to anyone who has a prob balancing their mix then it will improve ten fold. it just holds the diff elements tog better, even without effects. i had to buy a mac which was exp but hey i no longer get headaches of something not sounding right. cubase seems to accumulate a lot of midrange, a tinny overall sound to it, somehow logic doesnt. i guess cuttin it at 500hz will help but it just made my life so so much easier and if i can help anyone convert to logic rather than go thro the years of diff mixing i did i will try to.

                    • When you purchase a Mac from the Apple Store, be sure and sign-up for the Logic Pro “One-to-One” classes. Those trainers are great. Saved me a lot of frustration figuring things out myself.

                    • Hey Dustin,
                      I fell into the exact same situation about 7 years ago. I was using Cubase on PC, then I got an offer to produce an album for an indie Artist out of Orlando. I began the project on Cubase, but around the same time I purchased a new Mac and a friend lend me Logic.

                      I never thought there could be any kind of sound difference from one DAW to another, but I instantly noticed the clarity you mention. Eventually I wound up finishing up the final mix on Logic and the client was very pleased.

                      Fast forward 7 years; I’m in the need of upgrading my old G4 but don’t have the $ to buy a new Mac, so I started looking into a windows laptop that I can get at a great discount through my job right now. However, I’ve decided to hold off and try to save enough $ to get a Mac instead. Not just because I like the machine better, but in order to stay with Logic.

                    • I’ve watched pretty much all the tutorials going for logic and the best in my opinion is
                      olav basoski logic tutorials – there are two i think – one is called mixing electronica. olav is a house producer with lot of credits under his belt, i learnt so many short cuts in one hour watching it. it would have taken me six months to come accross all his tips. really fun video as well as so many are very dull and a bit painfull to watch. i love his eastern european laid back approach – ”’ like yar lets do this, kicking listen to that pump etc..”’ much more fun. its all up on youtube now and free to watch – very pro and you learn so much in one hour. so many short cuts on logics main panel i had not been aware of and been doing time consuming edits when the things litterally were doable with one click. olav basoski – v.good.

                • I just switched to Logic from Digital Performer. Could be my imagination, but Logic seems more transparent. We’ll see when I’ve got 100 tracks going.

                  • “I’ve watched pretty much all the tutorials going for logic and the best in my opinion is
                    olav basoski logic tutorials” = Dustin

                    The best IMO is Apple Store’s “One-to-One” training sessions. Can’t remember the cost, but it’s for an hour a week for a year. I had two different trainers and they were great. Each week I came with a long list of questions.

            • Wow MichaelL! Nice set up. I have a lot of those softsynths, and others are on my wish list. Just started on an eight core after years on a G5.

              I’d love to show you my work, but right now can’t think of a way of showing you without revealing my top secret identity : )

              • Hey Matt,

                I understand.

                My website will be up soon. So I’ll most likely be shedding my semi-anonimty. You can contact me then, without fear of revealing yourself to competing clients.

                As far as the setup goes — whether or not it ‘s worth it will depend upon how many tracks I place once I start back at this full-time. Time will tell.

                Best,

                Michael

    • That’s impressive alright. Thanks for posting that. It’s helps me get an idea of where I need to bring my game up.You invested in “nice stuff alright. Very pro sounding.

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