Who are the creme de la creme of Production Libraries?

[amathias]

Can anyone make a list of the best production libraries out there at the moment, including Europe and UK. You know, the ones that are paying great upfront fees, getting great sync fees and are providing music for the best TV/Film productions in the world?

[Advice]

I think that’s a very difficult question to give a blanket answer to since so much varies from music to music and composer to composer. What’s implied in the question is that it’s the quality of the library, not the music and having the right pieces at the right time that determine all this.

Of course, there ARE differences in libraries and which ones serve which markets– the upper tier with network placements & sync fees, the lower tier royalty free ones, etc. But within those realms, some make more money on RF than others make on higer end ones.

If you read around this site you’ll see great differences between different composer’s track records with different libraries. The variations are all over the board.

Obviously, it’s always best if you read that other composers HAVE had actual placements through libraries to at least know they are in the game.

🙂

[Art Munson]

For some reason the “Comment” box is displaying as a reply to a topic and comments are not displayed in the forum. So, here’s an answer from Big Romme that was inadvertently left as a comment. Thanks to Big Romme for the below answer.

——————-
You should sign up to Art’s website for the answer.
This is called doing your own research.
Everrbody want the easy answer.

Pay Art..
Scan through the 400 libraries
Then you decide what is top of production libraries.

Bigg Rome loves the kids….

————————————-

I might add that there ways to earn free access. See here: https://musiclibraryreport.com/blog/earn-free-access-to-mlr/

[amathias]

I understand the pot luck factor in getting placements and making money through libraries. You could have a track in a high end library that payed you 500 quid but never saw the light of day in terms of getting placed and then have a similar quality track in a non-exclusive that gets placed multiple times generating thousands for you. I get it.

The question I am asking refers to the QUALITY of the music. Obviously I would hope the BEST Film/TV/Advertising production companies want the BEST music so they would go to a library that has only the BEST music. Lets face it, so many libraries are taking on low quality music. The big production companies don’t want to sift through all the crap just to find a handful of good tracks. There must be some libraries out there that are go-to libraries for these big production companies. You know, libraries like Killer Tracks or KPM in the UK. The ones that don’t just put any old music in their library. The ones that pay their composers. I’m sure I could find some through this site, but using the search function and putting in “up front fees” and “exclusive” only brings back two results ! There has to be more out there. The ones that every composer dreams of getting into.

Can anyone give any details on these libraries? Specifics on up-front fee’s? Types of contracts that are offered? Or even a source where this information can be found?

[Art Munson]

Try searching for “Upfront Money” only.

I would venture to say that specifics on contract details and monies would vary from composer to composer.

[Advice]

QUOTE: You should sign up to Art’s website for the answer.
This is called doing your own research.
Everrbody want the easy answer.
—-

I have to agree with this. One thing that frustrates experienced folks who paid their dues researching and learning, making contacts, etc. is one someone simply asks for information handed to them on a silver platter. No implied tone in my post here.

And, in this case, there is a whole website (here) full of information related to what you are asking.

🙂

[amathias]

Thanks Art, that helps. No one has an opinion on the best libraries out there no?

[dan p]

Here’s the deal:
The reason everyone has to find out for themselves is because everybody else has different success
at different sites.Your music may sell well @ Site A,be stagnant @,B,pay something @C,pay backend better at D.
Depends on your music and the fit with the licensing site,Ie. how well you are represented with the style/s you do well.
The other factor is sheer numbers of tracks/sales/placements,the odds get better as hopefully your music with 100’s of tracks.

[Author]

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