Juggling libraries…….

[Chuck Mott]

How do are more experienced writers handle working with several libraries, particularly if they are electing to go exclusive. For example, you are relatively new, have some but not tons of tracks, and are working with 3 or more libraries. How do you prioritize filling the pipeline of each? Knowing you want to get several tracks in each of the libraries?

[Wildman]

I work for a couple of exclusive libraries and trailer music companies. Luckily it is very easy for me. I treat every company equal and I always deliver the same quality.
For some companies I write albums and for other companies I write a couple of songs when they brief a compilation.
In case a song really gets rejected, what almost never happens, I will upload the cue to some royalty free internet libraries 🙂
But my royalty free catalogue is also good and sometimes I write cues espcecially for this market, like simple and easy going corporate or pop music. Each market has its special requirement.

[Grant Tregellas]

@wildman. Im fairly new to the scene and havent dealt with submitting to the “bigger” libraries. The libraries that you do full cds for, do they request a certain type of album (genre) from you specifically and then you deliver that? or do you figure out what they need, record the album and submit it to them?

[Chuck Mott]

Grant (I know you addressed this to Wildman) I work with one that puts out several compilation albums, and they let me know what they want via a brief. Some others, you either find the kind of music they like, or focus in on the shows they are placing in and check out the sort of music and write a bunch of it (especially if it is your strongest genre) and write a boatload and submit that way. Some , like AS< put up lists of genres they are light in and you can write to those.

[Tbone]

If starting out, this is my advice:

Hold back what you consider your absolute best tracks, say 10 or so.

Place 10-20 good tracks with each of the 3 libraries.

Wait 1-2 years, while obviously producing more.

Then place all the new tracks and your best ones from before with the library that performs the best over those 2 years. (Of course, taking genre requirements from the library into account.)

[Grant Tregellas]

@Tbone. That makes sense. Otherwise you would just drive yourself crazy trying to choose among the libraries. Testing it out would give you the best ‘data” so to speak.

@Chuck Mott: Thanks for the response. I was just interested as I’ve seena number of “bigger” libraries package materials into themed albums, you know, like Classic Rock 1 or something. Was just wondering if those were written specifically or just a compilation of the best tracks from a particular author in a similar genre. I will often see the same author credited to each song on the cd.

[Wildman]

I dont have a real killer brilliant advice but libraries dont really care if you are a newbie or not. The only thing that matters is the quality of your music.
For some libraries I will simply follow their briefings. They search for Sports Action music or Suspense, Orchestral, Pop, Corporate or whatever and I will write this type of music while for other libraries I will make suggestions like “do you need an album of this type of music” after I did some researches of what kind of music the particular library really could need.

[ChuckMott]

That’s a good plam, Wildman, thanks for your input. I m in four right now that I like, to who send briefs, others are royalty free, others I have sent to but have put them n the back burner.One currently seems to have a larger catalog of shows they provide music to on an ongoing basis. It’s one I’m new to but I think I will prioritize that one. Write for briefs for the other (they only want what the sound out briefs for now anyway).

[Author]

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