Which libraries use this type of music?

[Richard Ames]

Does anyone know which libraries regularly license this type of music?

I hear this style in major ads and movies all the time but I can’t seem to find which libraries regularly license this Philip Glass / filmscore sound. Hence I have a huge collection of tracks that make basically zero money 🙂

Thanks in advance,

rgames

[Richard Ames]

Hey – where did the link go?

Here it is again: https://soundcloud.com/richard-ames/sets/classical-mechanics

[Desire_Inspires]

Not to be a jerk, but a lot of libraries! If you are not a member here, subscribe for a week and search the 400+ libraries. You just have to start emailing companies and asking if they need your style of music. It will take a while, but you should definitely do the work.

[Richard Ames]

My non-exclusive library is something like 300 tracks (not all in this style, but about 200 of them are this sort of filmscore / quasi-modern-classical style) and it is in a number of different libraries (10-15). But I make basically nothing from any of them. I think it’s because I haven’t found the ones that regularly license this style, even though I know it gets used very frequently.

So that’s where I’m stuck…!

Thanks,

rgames

[MichaelL]

Nice work Richard, but very narrow market. You might try contacting Gael Macgregor at Musicsupervisor.com or Maddie Madsen (Art has her info). They’ll probably charge you for a consultation, but it might be worth it, if you find a good fit.

Cheers,
Michael

[MichaelL]

Just curious, though, how do you tag and keyword your music? Could make all the difference in the world. I’d keep it simple “edgy dramatic” “dark strings” …things like that.
There are probably two people searching “Philip Glass.”
You should read the WSJ article on Jingle Punks that I just posted.
They don’t use keywords like “pizzicato” because the majority of their clients aren’t musically literate.

Cheers,
Michael

[Richard Ames]

Hi Michael – thanks for the info. I recall talking to the MusicSupervisor folks a while back – I’ll get in touch again.

I’m not sure how narrow the market is – I seem to hear it fairly regularly. Maybe just wishful thinking!

rgames

[Richard Ames]

Cross-post…!

Yeah, my tagging probably isn’t the best, but I do avoid musician-specific terminology.

I’ve always felt that’s one of my major shortcomings – knowing how music supervisors/editors/etc talk about music. The guys who seem to be really successful have had a pretty solid background in that aspect of the business.

Thanks again,

rgames

[MichaelL]

I’m not sure how narrow the market is – I seem to hear it fairly regularly. Maybe just wishful thinking!

That’s why I asked about keywords and tagging. Your potential customers may not know that they are looking for Philip Glass film score stlye music. They are looking for moods.

[MichaelL]

Another thought: ask Marina Garza at Tag Team Analysis about keywording / tagging your music. I think their prices are reasonable.
It might help.

Best of luck,

Michael

[Mark_Petrie]

I thought your tracks were very nicely written – you have a good ear for melody and chord changes.

The production (MIDI execution, sample libraries) lets you down a little, but that’s mostly because you’re attempting the just-about-impossible… a totally orchestral sound with no hybrid elements or live parts. Some of your tracks sounded like an ‘orch mix’ or strings stem from a trailer track, like they were very strong ideas that weren’t fully dressed up.

I hear music like this a lot on documentaries on Discovery and the Science Channel (Through the Wormhole, The Universe etc). You could watch a few of their shows and pause the insanely fast credit roll to figure out who supplies the shows (or contact the producers directly).

[Art Munson]

Hello Richard,
the good news is that your tracks are not really that close to Philip Glass’ style. They are way more thematic that Glass would ever do and have probably a much broader appeal.
The next question would be what are your sales expectations. If they’re high then you’d probably have to record some real instruments to raise their production value.

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