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This was definitely inspiring for me:
“There are a few big ones. Killer Tracks and APM are the two biggest, housing probably 50% of the market right now. The rest is made up of boutique libraries that specialize in various styles or placement types, like trailers or score music. The bigger companies deal primarily with exclusive licensing (see below for explanation). They have a high quality standard, and as a result are the go-to places for many music supervisors.”
I have a lot of work to do!
Interesting paragraph about how the music supervisor listens to prospective/ potential songs.
Thanks for sharing!
Great report from the panel. I’m a little surprised that two libraries are sitting on half the production music market. Then there might be (tops) a handful libraries sitting on 5% and the rest competing with peanuts. Makes you think when there are 500+ libraries in the MRL database. I always get surprised how small the music business really is, considering the big numbers ($) that gets tossed around.
I also wondered about this 50% number also . Could this be right? These guys are big but I can think of some others that are big too and some that are really old and big.
I also wondered about this 50% number also . Could this be right? These guys are big but I can think of some others that are big too and some that are really old and big.
Remember that APM is not just one library. It is many including, NFL, KPM, Sonoton and many others.
It’s not unusual for a large library to be made up of many different imprints.
Even a medium-sized library, like Manhattan, has many smaller libraries under its umbrella.
I’m really focusing my efforts to the libraries in the PMA now. Hopefully I’ll get in 2-3 by the end of the year. That’s my goal.
Thanks for posting this article DI, very cool.
There are two takeaways I would like to point out that are universal truths when clients and supervisors and library owners are reviewing your tracks.
1. “Rona said when he started writing for libraries what he found was that his most successful tracks were non-ambiguous. The music didn’t change emotion or direction half way through. It was straight down the middle in its mission.”
This doesn’t happen with all composers but some of them have this way of making you listen to 2 minutes of build-up before you ever get to what the music is about. Huge chunky metal guitars popping in at 1:30 after falling asleep listening to soft electronica is really bad.
2. Yesterday I needed something like a New York street scene.” He searched Reggaeton+vocals. About 150 tracks popped up. He listened to about five seconds of most of them, and if he liked it, he scrolled to the middle of the song and listened to another five seconds. He knew exactly what he wanted, so anything slightly off he maybe listened to two seconds of.
This is exactly what I do when reviewing music (and this article confirms that most customers and supervisors do the same).
If you think supervisors and library owners are reviewing your music from beginning to end you’re mistaken. It needs to grab you right up front and let you know what is going to happen with this track. Not that you need a fanfare or anything but don’t be ambiguous about what the track intends to deliver.Doing ML approvals today I just blocked a track that had a hihat count-off in it.
Not just just 1-2-3-4, but 1 – 2 – 1 – 2 – 3 – 4.Doing ML approvals today I just blocked a track that had a hihat count-off in it.
Not just just 1-2-3-4, but 1 – 2 – 1 – 2 – 3 – 4.Michael L:
That clip is awesome! I was rehearsing in a mates kitchen many years ago. The drummer made me so mad I got a frying pan and whacked him on the head with it! I know it seems harsh, but he was dragging…or frying…
great thread BTW, sorry to go a bit off topic. Yes, as a newbie I am looking at PMA companies also. I am also flippin’ a few burgers right now:)Has anyone submitted music to these guys?
Has anyone submitted music to these guys?
I have composed for 7 PMA libraries. 99% percent of that came through personal networking and recommendations.
The rest of my music is in RF libraries.
Has anyone submitted music to these guys?
Hey daveydad – I just started contacting and submitting last summer. It’s exciting to talk shop with them and it’s interesting how differently the libraries handle inquiries.
99% percent of that came through personal networking and recommendations.
Hey Michael – that’s cool that’s how it worked for you. That’s what two libraries told me. That they had to know me first before they would even continue the conversation. Where’s the love!?
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