Thanks, Brother! I'm right there in the trenches, too. Just trying to share some of the experiences that have worked for me. Best to you and thanks, again!
Marlon, thanks so much for sharing your experience, and for the down-to-earth, respectful approach with long-term relationship in mind, when you must have quite a busy schedule yourself. Cheers!
Thanks, Marlon! Thank YOU for taking the time. I've shared your video with several other composer/songwriter friends I'm working with to get "off the ground" in this realm, finding a place that would be a good fit for us. Maybe I'll run across a video in your lib that tells your story of how you got into this part of the biz. I'd be interested in your story. Thx again, bro.
Great video topic, or at least I can mention in a near future video. The short answer here is... Well over a decade ago (2004 I think), a time when I didn't even know what Libraries were, I entered a contest to have my music featured on a video game. I won and received a bit of money for it. That was a eureka-moment and what started me off, down the path to opportunities to be paid for my music, as well as build a royalty stream on the back end. Not to suggest it was easy or quick, I assure you many challenging years came after. Thus why I tell my subs' it's a Marathon, not a race. ; ) These days I write mostly for Ad and Commissioned projects but still very connected to the Library & Production Music scene.
Awesome--I hope you do include it at some point. The back story is always so helpful, too--shows so much of the unexpected nature of how doors can open, but the hard work that both precedes and ensues so that one is ready when the opportunity comes. Thanks so much for sharing, Marlon. Here's to the long journey ahead, but filled with good music, good people, and good stories.
I watched a few of your videos and they are really helpful! I like the mix of tutorials and the more "a day in the life" style of videos. Plus you have a very natural (and entertaining) way of presenting. I have been writing for theater and contemporary dance performances for a few years, currently trying to find out if the library stuff would be another thing to do for me over the next couple of years. I think I've become quite fast in putting music together but that music licensing business seems to be a VERY different story with a very distinct skill set... I guess you just have to decide to go for it and then give it at least 5 years. What do you think? How did you decide to "go for it"?
Hey, new to publish / libraries. I'm on the producer/a&r side. Good info with finding value & using Goog.👌. Off the bat, better sound qual. than many ytube vids. 🎚️ To add.. building relations and having a separate profile like on mixcloud w/links is key.
Hi everyone, what’s the average amount of money you can charge for you song to be used in a film/movie? Truly need an answer to the above question I was approached recently about this and I’m trying to acquire more knowledge about it, thank you
Thanks Marlon...I've just started my journey towards getting one of my songs licensed...your video was informative and insightful...I've made notes and will be doing my research post-haste...All the best from the UK 👍🏽🎶
Love your channel, very informative! I've self-composed for years, but am trying to establish myself. I'm a complete noob when it comes to understanding how PROs work, despite days of research. I'm living in the UK so will likely register with PRS. From what I can tell, it's best to register yourself with any PRO as both a writer and publisher, before joining a library, in order to claim as much royalties as possible. However, PRS will not allow me register as a publisher, since none of my music has actually been published? Is this a complete Catch-22 or am I missing something blatantly obvious? I've heard of many people saying you need to register with a Mechanical-Copyright Protection Society if you want to give your music to libraries, since the music is being downloaded as opposed to performed. Is this always the case? Apologies for what may seem like stupid questions. I have lots of tracks I've made over the years, but am afraid to publish them in case they aren't properly registered as my own! Any advice would be hugely appreciated by anyone who knows of some answers.
I've submitted beats, they claimed they were placed but I didn't get no other information or more importantly I didn't get any checks. I'm signed up with BMI, to your knowledge, Is there a way I can track these? It's been over a year since the tracks were "placed".
Even though it’s been a year, there could be a few different things at play here. First, find out if the Library (or whoever placed your track) got paid, or is waiting just like you. Whoever used your track, has an obligation to submit a cue-sheet. BMI needs this “cue-sheet” to process and pay out. This can take months, even a year though not typically. “If” the Library is of no help, you can contact BMI and they will help track down the usage of the cue. Most importantly, don’t be quick to jump on the Library, they may be waiting for their money too. Also, the Library may be your quickest route to getting paid, since they negotiated the placement and are in contact with the user and have the specific information that BMI will ask you for if you ask them for help 1st. Hope that helps.
MarlonGibbons Hello! Thanks, very informative. Should you always copyright your music before joining a PRO and submitting it to music libraries? Also, this is my understanding of how to do this: 1. Copyright your music 2. Join a PRO 3. Only then Submit your music Would that be the correct approach? Thanks!
Hey Caesar! It's a common misunderstanding that you need to "copyright" music. The reality is, the moment you create (original) music, by definition, you hold the "copyright" on that creation. I believe what you are asking is, if you need to "register your work with a copyright office" as in, go through an administrative process to have your music registered on file. The answer is, registering your songs/tracks, will offer more security against claims of plagiarism, but.... its not necessary. You can (I feel like most do) Just register your music with your PRO of choice and proceed. So a most common approach is... PRO then Submit to Libraries.
MarlonGibbons Hello! Thanks! Yes, I meant like registering it with a copyright office and having it on file as you say. Which I know it’s not cheap to do :( (if you were to constantly register tracks etc) .... so PRO then submit would be just fine then, thanks !!
@@MarlonGibbons There is so much useful information on this posting Marlon. Including the replies and your answers. It covers loads of the elementary stuff that beginners need. Thanks once again.
It depends on the Library. Some will be a hard NO, while others may allow you to. Always ask the Library (you've signed a contract with) or intend to work with, before doing so.
Hi Marlon, quite an old video, I hope you get to see my question. You say: 'show them your best work'. Could you send an already placed/licensed track in another library? I mean, the library I'd loke to approach would not be able to use that track but it is definetively one of my best works... would you send that track?
Hey Raul! Good question. I'd say, yes, send that track (you already have in another Library) Here's why: Most often, a Music Library will want to hear the quality of your work. The availability and volume of work, and contract terms, comes after that. Send your best work, even if it's not available to them, it shows the quality of which you can produce at.
@@MarlonGibbons wow, that was a quick answer! 🔥 thanks my friend. Long story short, I've been working (and I still am) with a kinda botique music library but I'd like to get into licensing full time and get to work with other libraries. I know what my best sellers are so I'll definetively send those tracks. Thanks again for sharing your knowledge. 🙏🏼
As many Libraries as you want. When you hear people talk about "exclusive vs non-exclusive" they are talking about your music, not YOU as a producer or composer. The catch is.. yes, some Music Libraries ask you to be exclusive, which only means you sign an agreement, in that the tracks you put in their catalog, only exist in their catalog and nowhere else. You can still write/produce (new) music for as many other Libraries as you like. Some Libraries are non-exclusive and you can put one piece of music in several Libraries.
Hey Marlon, thanks for great info! What are your thoughts on royalty free net catalogs? Also, is your experience that in general you get more placements if you spread out your productions in non-exclusive libs or do you prefer exclusive deals?
Hey Luigi, I do in fact prefer exclusive contracts and it's worked well for me. It's a show of faith, on both parties, I feel. Good faith and trust are what build long-term relationships. Exclusive may not be for everyone, and that's cool. You have a point in that, statistically, by spreading out your work (non-exclusive).. you could land more placements. I've just found in my own experience, that by going only exclusive, I build better, stronger relationships and thus, other opportunities (side-projects) sometimes come of it.
Yep, you can. So long as you own the rights to the song, and even if you have co-writers on the tracks, you just have to declare that (THEY WILL ASK) when you submit. But "tracking" is a different thing, you are safe. Best practice is to ask the Library about any such concerns when you submit.
Their site seems to be down at the time of my reply here, but I think this is this site that gives you industry listings of various score related projects on the go? If so, I think it's a great opportunity! I'm not subscribed but have heard of, without know all the details, I think it sounds promising.
I'm assuming that your country does NOT have a P.R.O.? To my understanding, you don't have to live in the same country as your P.R.O. Perhaps ask what people's experiences have been. I like what ASCAP does for its members.
Thank you for the helpful info, will they listen to what we submit if we don't have a label? Or perhaps is there a front of the line preference because one is represented? And is there a way around being represented but still with some tricks of the trade getting to the front of the line?
Hey, Thanks for watching. There are Libraries that will not accept unsolicited work (not rep'd by a label or presented by someone on the inside) but... the majority of Libraries, WANT you to submit your music to them. It doesn't matter that you're not signed. You don't need to be on a label. Usually on their contact page, they'll tell you exactly how to submit! Good Luck.
Hi Marlon. Do the libraries pay any upfront fee for the compositions themselves? As in for the right to try and place the composition. Or does the composer only get paid if the music gets placed?
In most cases, no, they don't pay upfront. But.... yes it does happen, it's just usually not advertised. There are different forms of this. 1. A production fee. 2. An advance (on your future earnings).
I believe this is a business that is suffering massive paradigm shifts every few years. So nowadays, what would reasonable to hope for in ramping up your compensation over time, months, and years of working hard for decent libraries? First year what $25,000 maybe? Second year $50,000. How many years to hope to get to $100,000/yr? Does it look like the business is basically going to go on like it now is? --thank you in advance. Thank you for this lesson. Keep up the great TH-cams.
Hey Dendi, thanks for taking the time to watch and comment. Its a great comment/thought. I can only reply with what my personal experience has been. I don’t have official analysis reports or official statistics from any studies. My advice on many of my videos has been, to reach beyond simply feeding a catalog. Develop relationships with these libraries and the people that run them. Sell “you” rather than just your music. This increases your opportunity for work, such as special projects. It also helps propel you ahead of other writers and thus potentially your income. Paradigm shift: I agree it has changed a lot over the past few years, and will continue to, but I feel it’s always evolving and it’s our responsibility as content providers to be on top of that. Libraries are a business too, they need to evolve to compete. I’ll add to that, a Libraries’ success is directly related to an industry demand for their “product”. I only see a growth in new TV Programming, such as Reality TV, documentaries and others video media. I can’t speak to $ because there are no absolutes. (I don’t mean to evade your question) There are so many variables such as, how appropriate are your cues for TV placement?, combined with the success rate of the Library that is rep’ing your tracks. Who are their clients? How many cues do you have out there? How many Libraries are you working with? How engaged are they with you, and vice versa. The list goes on. So, I believe the business will continue to evolve (from a positive perspective). I feel there is opportunity for those that are passionate and dedicated. I don’t offer a road-map or specific strategy on my channel. I’m not selling anything and especially not a guarantee. I only offer tips and advice based on my experience. There are some great channels on the Licensing topic. Some will speak to your income-growth question, too. Thanks for taking the time.
Thanks for this, Marlon, this information is really helpful. I had kind of a general question for you if you don't mind. I've noticed the time frame to finish a track seems to be really fast in the music library world. Rather than a few weeks to a month, people will often only spend a few days or a week on a track. I typically take 3 weeks to a month to finish a track - the song is 90% done in the first few days, but most of that time is spent being a sort of a perfectionist and trying to get it "just right." Do you feel like working with music libraries has caused you to spend a bit less time on polishing a track than if you were to say, release it as a single, or do you think you've just become faster out of necessity?
Hey, Jamie! Thanks and great question. I've struggled with this and continue to. It's always a balance between maintaining great production value and writing quickly. So to answer your question, YES I do feel as though I've often had to keep moving forward to meet a deadline, when the "creative" in me wants to spend more time on it. I've gotten quicker but always room to improve. Good new is there's lots of things you can do to help the process.. th-cam.com/video/Yx2q1rxpJZw/w-d-xo.html
@MarlonGibbons I’m a new subscriber and new to music libraries, and found great information in this video and the organizational video you linked above. I’m pretty organized by nature, but the video link above gave me a great idea about creating more templates. I use Logic Pro X and have only ever set up orchestral templates. I will rectify that this week. Cheers!
Hi Marlon, being a canadian myself I registered with SOCAN and emailed them about whether or not they collect royalties from the US. They replied with this: "SOCAN will collect royalties in the U.S. for the public performance of your copyright from a variety of different sources that do not include music libraries." I'm a bit confused does this mean they will collect royalites unless the music was published with a music library? That would be very bad for a canadian producer.
Hey Ryan, I can see how this is confusing. Here's the common (not every time) scenario,... TV Show, Network, Music Sup... finds your track in a Library, they pay licence to use it (sync fee). They then use it in aired show on.. (ABC, NBC..etc).. a "cue sheet" declaring all music used in show is submitted to P.R.O. of the country the show aird in. Your name will be on that cue sheet, months later.. your PRO receives said cue sheet.. it's processed through administration and you are notified quarterly. To clarify, You don't generally receive royalties from the Library. You may get what's called "front end" money.. aka. "sync fee" but that's different than "back end" Royalties. Hope I didn't just make you more confused...
Alright then, the library isn't involved in my receiving of the backend which is why SOCAN said that. The music libaries (depending on the deal) offer me the sync fee. Thanks for clarifying, enjoying the channel!
Hey Marlon, thanks for all these insights! I somehow accidentally got into library music lately by a request for a track from a library I know the owners of. They asked me for a punkrock track because they knew that was the style I produced the most when working with bands in my studio. I have a good relation with them and they ask me for tracks whenever there is a pitch in that punk/rock genre and two tracks got placed in commercials lately. So that´s all a good start I guess. Now I am wondering how to approach other libraries. I don´t have a ton of tracks yet and most of the ones I did are already exclusively in the catalogue of that one library. (They asked for the tracks that did not get picked for opportunities to put them in their catalogue.) What´s your advice on presenting myself to other libraries? Should I send them my current best tracks, even though they are already taken? Or should I produce like 12 tracks and send every library I am interested in a few that could be licensed by them exlusively? Looking forward to hear from you! Best regards from Germany Dominik
Hi Marlon, I work with Sonar and Sibelius. They both provide great sounding virtual instruments. Am I legally allowed to submit my own compositions using these sounds? Thanks and best wishes.
Jim, sorry for the late response. My opinion (and only opinion, not a statement of fact) is that yes, you can create music (with Sibelius / Sonar) and submit/register said music in your name. While I am fairly certain, the reason I hesitate is that some manufactures (more common in Sample Libraries) do have "terms of usage" associated with the sale of license to use their samples. I'm pretty sure you're safe though.
Thanks for the video! Can I be with more than one library? Also, if I am with a library, can I also do business with someone directly if they come through my website? If so, do libraries normally try to get money from that deal even though they didn't find me the work? I know it depends on each company etc., but what's your general thoughts on this? Cheers 👍
Hey there, what you're referring to is Exclusive vs Non-exclusive.. It refers to the music (not the artist). Some Libraries want Exclusive, meaning you can't have the same track in another Library, and that includes re-titling it so it reads different but is essentially the same track. (but you can write different music for another Library). Non-Exclusive... you can license said track with another Library, or even sell on your website - and NO, the Library doesn't get a cut of a track you sell or license from your site.
Royalty-Free vs Rights Managed. Many argue that one is better than the other, but it really comes down to what your goal and approach is. There are success stories with both models. Rights managed, you would first register yourself with a P.R.O. of your Country (Performance Rights Organization, e.g. ASCAP, BMI..etc). Then register your works with said P.R.O. before submitting them to a (non Royalty-free Library) The benefit here is the P.R.O. will work to see that you are paid (royalties) when your music is used in broadcast (TV, Radio..etc). Bottom line, if you're considering a Royalty-Free Library, I'm very confident that they will provide an agreement that explains the terms of your music, what you'll earn when they license your track, if it's exclusive or non-exclusive (meaning you can or cannot pitch it to another Library or license it elsewhere). In either model, you still own the music, both models only sell a "license" to the user so they can use the music, not re-sell it.
Hey Marlon, really enjoying your videos. I have a suggestion for a "n00b" topic: organizing your music. I've worked with database-driven web sites for decades and it's rather astounding to me that I can't find an app or ready made database program designed for musicians and composers to use for organizing, classifying, and tracking their music pieces, other than throwing them into a spreadsheet, which is inefficient. How do you organize your tracks? Thanks in advance, and keep up the good work - it's refreshing to find such real, down to earth content that's not a lot of hype or sales pitch! ~ Michelle
Hey Michelle, thanks for the kind words. Glad you're enjoying and yeah, no sales pitch here. There exists software called "soundminer" for file and data management. While I personally don't use it, I hear it's incredible. I do have my own method of keeping track of my files though, thanks for the topic idea, I'll schedule into a video in coming weeks! Thanks, Michelle & Cheers!
Thanks for the reply! I'll check that out, and watch for future videos on the topic. Now, where did I put that song that was "heroic and triumphant?" Or was it "hectic and transitional?" :)
No1MC search music supervisors on twitter and look at who they are following. A majority of the time there’s a bunch of music libraries in their follows.
@Frank Schlimbach - Composer You're welcome. Ive been in the music licensing business a few years and I have seen some good checks. Biggest checks were for Work For Hire projects thru Libraries. Backend money has been consistant so Im always looking for new companies with bigger opps. Thx again!
Hi Natalie, firstly… let me say thank you for taking the time to tune in. I appreciate the question. The video is defiantly for beginners, but.. admittedly it’s no help to you if you don’t know what a Music Library is. A simply explanation is.. a Music Library is a collection of music, aka “Catalog” that is made available for licensing (a fee to use, not own). It’s somewhat similar to you going to the Public Library to fetch a book, that will help you with your project. If you Google “Music Library” or “Production Music Library” it will give you much more detail than I have. All that said, a (reputable) Music Library will help you get your music placed into TV / Film and other media projects. There’s a lot of details in between, but that’s as basic as I can explain it. Again, thank you for the question, didn’t mean to exclude anyone.
@@MarlonGibbons Thanks for the reply - wasn't expecting one! I'm someone who is just starting to think about pushing their composition ability but who is not in the loop so to speak. Videos like yours help. I didn't know there was a thing such as these music libraries. I guess once you get passed the motivational youtube videos, you start to look for more practical advice like this. Also, I'm from Australia and I feel like we are a less sales-y type people - no one has that mindset really.
Nice primer. Thanks!
ASCAP and BMI pay quarterly. You can also set them up to autopay to bank account
great foundations here Marlon, thanks for making the time to help out those of us on the journey !
Thanks, Brother! I'm right there in the trenches, too. Just trying to share some of the experiences that have worked for me. Best to you and thanks, again!
Thanks for ya time and energy and support. Blessings to you and your family and mind.
I greatly appreciate the support of the channel. We have a great community here. Thanks for the kinds words and tuning in.
Thank you Mr Gibbons, I appreciate your time you've put into this very helpful informative video
Marlon, thanks so much for sharing your experience, and for the down-to-earth, respectful approach with long-term relationship in mind, when you must have quite a busy schedule yourself. Cheers!
Hey Keith, thanks for the kind words, and taking the time to watch. Much appreciated! BTW - what incredible talent you have!
Thanks, Marlon! Thank YOU for taking the time. I've shared your video with several other composer/songwriter friends I'm working with to get "off the ground" in this realm, finding a place that would be a good fit for us. Maybe I'll run across a video in your lib that tells your story of how you got into this part of the biz. I'd be interested in your story. Thx again, bro.
Great video topic, or at least I can mention in a near future video. The short answer here is... Well over a decade ago (2004 I think), a time when I didn't even know what Libraries were, I entered a contest to have my music featured on a video game. I won and received a bit of money for it. That was a eureka-moment and what started me off, down the path to opportunities to be paid for my music, as well as build a royalty stream on the back end. Not to suggest it was easy or quick, I assure you many challenging years came after. Thus why I tell my subs' it's a Marathon, not a race. ; ) These days I write mostly for Ad and Commissioned projects but still very connected to the Library & Production Music scene.
Awesome--I hope you do include it at some point. The back story is always so helpful, too--shows so much of the unexpected nature of how doors can open, but the hard work that both precedes and ensues so that one is ready when the opportunity comes. Thanks so much for sharing, Marlon. Here's to the long journey ahead, but filled with good music, good people, and good stories.
Cheers, my new friend!
Helpful video. Thanks Marlon.
Thank you 💯
I'm really enjoying this channel Marlon, keep them coming!
Hey Christoph, Thanks! Being such a small channel, the positive feedback is motivating.
I watched a few of your videos and they are really helpful! I like the mix of tutorials and the more "a day in the life" style of videos. Plus you have a very natural (and entertaining) way of presenting.
I have been writing for theater and contemporary dance performances for a few years, currently trying to find out if the library stuff would be another thing to do for me over the next couple of years. I think I've become quite fast in putting music together but that music licensing business seems to be a VERY different story with a very distinct skill set... I guess you just have to decide to go for it and then give it at least 5 years. What do you think? How did you decide to "go for it"?
Hey, new to publish / libraries. I'm on the producer/a&r side. Good info with finding value & using Goog.👌. Off the bat, better sound qual. than many ytube vids. 🎚️
To add.. building relations and having a separate profile like on mixcloud w/links is key.
Hi everyone, what’s the average amount of money you can charge for you song to be used in a film/movie?
Truly need an answer to the above question
I was approached recently about this and I’m trying to acquire more knowledge about it, thank you
Thanks Marlon...I've just started my journey towards getting one of my songs licensed...your video was informative and insightful...I've made notes and will be doing my research post-haste...All the best from the UK 👍🏽🎶
jimchorley this is great, man! I appreciate you tuning in. Looking forward to hearing your progress.
MarlonGibbons I'll keep you posted as my journey progresses Marlon...may yours be filled with every musical blessing and success.
Love your channel, very informative! I've self-composed for years, but am trying to establish myself.
I'm a complete noob when it comes to understanding how PROs work, despite days of research. I'm living in the UK so will likely register with PRS. From what I can tell, it's best to register yourself with any PRO as both a writer and publisher, before joining a library, in order to claim as much royalties as possible. However, PRS will not allow me register as a publisher, since none of my music has actually been published? Is this a complete Catch-22 or am I missing something blatantly obvious?
I've heard of many people saying you need to register with a Mechanical-Copyright Protection Society if you want to give your music to libraries, since the music is being downloaded as opposed to performed. Is this always the case?
Apologies for what may seem like stupid questions. I have lots of tracks I've made over the years, but am afraid to publish them in case they aren't properly registered as my own!
Any advice would be hugely appreciated by anyone who knows of some answers.
Great questions
I've submitted beats, they claimed they were placed but I didn't get no other information or more importantly I didn't get any checks. I'm signed up with BMI, to your knowledge, Is there a way I can track these? It's been over a year since the tracks were "placed".
Even though it’s been a year, there could be a few different things at play here. First, find out if the Library (or whoever placed your track) got paid, or is waiting just like you. Whoever used your track, has an obligation to
submit a cue-sheet. BMI needs this “cue-sheet” to process and pay out. This can take months, even a year though not typically. “If” the Library is of no help, you can contact BMI and they will help track down the usage of the cue. Most importantly, don’t be quick to jump on the Library, they may be waiting for their money too. Also, the Library may be your quickest route to getting paid, since they negotiated the placement and are in contact with the user and have the specific information that BMI will ask you for if you ask them for help 1st. Hope that helps.
MarlonGibbons thanks man. I appreciate the advice! Subscribed 🙏
Have u received ure royalties yet?
Thank you for the great information and advice!
Thank YOU for taking the time to watch. Cheers!
MarlonGibbons Hello! Thanks, very informative. Should you always copyright your music before joining a PRO and submitting it to music libraries?
Also, this is my understanding of how to do this:
1. Copyright your music
2. Join a PRO
3. Only then Submit your music
Would that be the correct approach?
Thanks!
Hey Caesar! It's a common misunderstanding that you need to "copyright" music. The reality is, the moment you create (original) music, by definition, you hold the "copyright" on that creation. I believe what you are asking is, if you need to "register your work with a copyright office" as in, go through an administrative process to have your music registered on file. The answer is, registering your songs/tracks, will offer more security against claims of plagiarism, but.... its not necessary. You can (I feel like most do) Just register your music with your PRO of choice and proceed. So a most common approach is... PRO then Submit to Libraries.
MarlonGibbons Hello! Thanks! Yes, I meant like registering it with a copyright office and having it on file as you say. Which I know it’s not cheap to do :( (if you were to constantly register tracks etc) ....
so PRO then submit would be just fine then, thanks !!
Thanks marlon,
How's the pay ? is it viable as a main income or only side income ? thanks a lot for the vids ! ;D
This is great for a newbie like me!
Great to hear! Best to you.
Great video Marlon!
Thanks, Jonathan. Much appreciated.
Thanks Marlon. Useful information.
Thanks, Jim!
@@MarlonGibbons There is so much useful information on this posting Marlon. Including the replies and your answers. It covers loads of the elementary stuff that beginners need. Thanks once again.
Thanks for the info!
Thanks for sharing this info.
Thanks for taking the time to watch!
Can you submit to library’s and post on streaming platforms for the same track?
It depends on the Library. Some will be a hard NO, while others may allow you to. Always ask the Library (you've signed a contract with) or intend to work with, before doing so.
Lots of great info !!
Glad you enjoyed it, thank you!
Hi Marlon, quite an old video, I hope you get to see my question. You say: 'show them your best work'. Could you send an already placed/licensed track in another library? I mean, the library I'd loke to approach would not be able to use that track but it is definetively one of my best works... would you send that track?
Hey Raul! Good question. I'd say, yes, send that track (you already have in another Library) Here's why: Most often, a Music Library will want to hear the quality of your work. The availability and volume of work, and contract terms, comes after that. Send your best work, even if it's not available to them, it shows the quality of which you can produce at.
@@MarlonGibbons wow, that was a quick answer! 🔥 thanks my friend. Long story short, I've been working (and I still am) with a kinda botique music library but I'd like to get into licensing full time and get to work with other libraries. I know what my best sellers are so I'll definetively send those tracks. Thanks again for sharing your knowledge. 🙏🏼
Valuable info man, thanks
Thanks for taking the time to watch!
How many libraries can you be a member of at any one time? Do they require your loyalty?
As many Libraries as you want. When you hear people talk about "exclusive vs non-exclusive" they are talking about your music, not YOU as a producer or composer. The catch is.. yes, some Music Libraries ask you to be exclusive, which only means you sign an agreement, in that the tracks you put in their catalog, only exist in their catalog and nowhere else. You can still write/produce (new) music for as many other Libraries as you like. Some Libraries are non-exclusive and you can put one piece of music in several Libraries.
Excellent advice thank you Marlon.
Thanks for taking the time to watch/listen... support. Much appreciated.
Hey Marlon, thanks for great info! What are your thoughts on royalty free net catalogs? Also, is your experience that in general you get more placements if you spread out your productions in non-exclusive libs or do you prefer exclusive deals?
Hey Luigi, I do in fact prefer exclusive contracts and it's worked well for me. It's a show of faith, on both parties, I feel. Good faith and trust are what build long-term relationships. Exclusive may not be for everyone, and that's cool. You have a point in that, statistically, by spreading out your work (non-exclusive).. you could land more placements. I've just found in my own experience, that by going only exclusive, I build better, stronger relationships and thus, other opportunities (side-projects) sometimes come of it.
Thank you for a sincere answer Marlon, appreciate it a lot!
Great advice. Thanks
Thanks!
could i submit music thats being monitored by a music distributor such as CD baby or Tunecore?
Yep, you can. So long as you own the rights to the song, and even if you have co-writers on the tracks, you just have to declare that (THEY WILL ASK) when you submit. But "tracking" is a different thing, you are safe. Best practice is to ask the Library about any such concerns when you submit.
alright cool, thanks!
Most of time though some libraries, don't want you have to have your tracks on CD Baby and other libraries.
MarlonGibbons have you ever heard of www.filmmusic.net? If so have you use it before?
Their site seems to be down at the time of my reply here, but I think this is this site that gives you industry listings of various score related projects on the go? If so, I think it's a great opportunity! I'm not subscribed but have heard of, without know all the details, I think it sounds promising.
this is cool, thanks - Peanskean Riddler
Thanks for taking the time to watch!
Anyone have a list of the best streamable links. I'm new to this
If you are international producer not from USA, Canada, UK where you should register to become a PRO member? Does anyone have an idea?
I'm assuming that your country does NOT have a P.R.O.? To my understanding, you don't have to live in the same country as your P.R.O. Perhaps ask what people's experiences have been. I like what ASCAP does for its members.
@@MarlonGibbons nope. thank you for the reply, I'll ask around as well.
Thank you for the helpful info, will they listen to what we submit if we don't have a label? Or perhaps is there a front of the line preference because one is represented? And is there a way around being represented but still with some tricks of the trade getting to the front of the line?
Hey, Thanks for watching. There are Libraries that will not accept unsolicited work (not rep'd by a label or presented by someone on the inside) but... the majority of Libraries, WANT you to submit your music to them. It doesn't matter that you're not signed. You don't need to be on a label. Usually on their contact page, they'll tell you exactly how to submit! Good Luck.
Hi Marlon. Do the libraries pay any upfront fee for the compositions themselves? As in for the right to try and place the composition. Or does the composer only get paid if the music gets placed?
In most cases, no, they don't pay upfront. But.... yes it does happen, it's just usually not advertised. There are different forms of this. 1. A production fee. 2. An advance (on your future earnings).
Thank you Marlon!
I believe this is a business that is suffering massive paradigm shifts every few years. So nowadays, what would reasonable to hope for in ramping up your compensation over time, months, and years of working hard for decent libraries? First year what $25,000 maybe? Second year $50,000. How many years to hope to get to $100,000/yr? Does it look like the business is basically going to go on like it now is? --thank you in advance.
Thank you for this lesson. Keep up the great TH-cams.
Hey Dendi, thanks for taking the time to watch and comment. Its a great comment/thought. I can only reply with what my personal experience has been. I don’t have official analysis reports or official statistics from any studies. My advice on many of my videos has been, to reach beyond simply feeding a catalog. Develop relationships with these libraries and the people that run them. Sell “you” rather than just your music. This increases your opportunity for work, such as special projects. It also helps propel you ahead of other writers and thus potentially your income.
Paradigm shift: I agree it has changed a lot over the past few years, and will continue to, but I feel it’s always evolving and it’s our responsibility as content providers to be on top of that. Libraries are a business too, they need to evolve to compete. I’ll add to that, a Libraries’ success is directly related to an industry demand for their “product”. I only see a growth in new TV Programming, such as Reality TV, documentaries and others video media.
I can’t speak to $ because there are no absolutes. (I don’t mean to evade your question) There are so many variables such as, how appropriate are your cues for TV placement?, combined with the success rate of the Library that is rep’ing your tracks. Who are their clients? How many cues do you have out there? How many Libraries are you working with? How engaged are they with you, and vice versa. The list goes on.
So, I believe the business will continue to evolve (from a positive perspective). I feel there is opportunity for those that are passionate and dedicated. I don’t offer a road-map or specific strategy on my channel. I’m not selling anything and especially not a guarantee. I only offer tips and advice based on my experience. There are some great channels on the Licensing topic. Some will speak to your income-growth question, too. Thanks for taking the time.
Thanks for this, Marlon, this information is really helpful. I had kind of a general question for you if you don't mind.
I've noticed the time frame to finish a track seems to be really fast in the music library world. Rather than a few weeks to a month, people will often only spend a few days or a week on a track. I typically take 3 weeks to a month to finish a track - the song is 90% done in the first few days, but most of that time is spent being a sort of a perfectionist and trying to get it "just right." Do you feel like working with music libraries has caused you to spend a bit less time on polishing a track than if you were to say, release it as a single, or do you think you've just become faster out of necessity?
Hey, Jamie! Thanks and great question. I've struggled with this and continue to. It's always a balance between maintaining great production value and writing quickly. So to answer your question, YES I do feel as though I've often had to keep moving forward to meet a deadline, when the "creative" in me wants to spend more time on it. I've gotten quicker but always room to improve. Good new is there's lots of things you can do to help the process.. th-cam.com/video/Yx2q1rxpJZw/w-d-xo.html
@MarlonGibbons I’m a new subscriber and new to music libraries, and found great information in this video and the organizational video you linked above. I’m pretty organized by nature, but the video link above gave me a great idea about creating more templates. I use Logic Pro X and have only ever set up orchestral templates. I will rectify that this week. Cheers!
Hi Marlon, being a canadian myself I registered with SOCAN and emailed them about whether or not they collect royalties from the US. They replied with this: "SOCAN will collect royalties in the U.S. for the public performance of your copyright from a variety of different sources that do not include music libraries."
I'm a bit confused does this mean they will collect royalites unless the music was published with a music library? That would be very bad for a canadian producer.
Hey Ryan, I can see how this is confusing. Here's the common (not every time) scenario,... TV Show, Network, Music Sup... finds your track in a Library, they pay licence to use it (sync fee). They then use it in aired show on.. (ABC, NBC..etc).. a "cue sheet" declaring all music used in show is submitted to P.R.O. of the country the show aird in. Your name will be on that cue sheet, months later.. your PRO receives said cue sheet.. it's processed through administration and you are notified quarterly. To clarify, You don't generally receive royalties from the Library. You may get what's called "front end" money.. aka. "sync fee" but that's different than "back end" Royalties. Hope I didn't just make you more confused...
Alright then, the library isn't involved in my receiving of the backend which is why SOCAN said that. The music libaries (depending on the deal) offer me the sync fee. Thanks for clarifying, enjoying the channel!
Most often, yes you are correct. There are always exceptions to the rule.
Hey Marlon,
thanks for all these insights! I somehow accidentally got into library music lately by a request for a track from a library I know the owners of. They asked me for a punkrock track because they knew that was the style I produced the most when working with bands in my studio. I have a good relation with them and they ask me for tracks whenever there is a pitch in that punk/rock genre and two tracks got placed in commercials lately. So that´s all a good start I guess. Now I am wondering how to approach other libraries. I don´t have a ton of tracks yet and most of the ones I did are already exclusively in the catalogue of that one library. (They asked for the tracks that did not get picked for opportunities to put them in their catalogue.)
What´s your advice on presenting myself to other libraries? Should I send them my current best tracks, even though they are already taken? Or should I produce like 12 tracks and send every library I am interested in a few that could be licensed by them exlusively?
Looking forward to hear from you!
Best regards from Germany
Dominik
@marlongibbons ;)
Hi Marlon, I work with Sonar and Sibelius. They both provide great sounding virtual instruments. Am I legally allowed to submit my own compositions using these sounds?
Thanks and best wishes.
Jim, sorry for the late response. My opinion (and only opinion, not a statement of fact) is that yes, you can create music (with Sibelius / Sonar) and submit/register said music in your name. While I am fairly certain, the reason I hesitate is that some manufactures (more common in Sample Libraries) do have "terms of usage" associated with the sale of license to use their samples. I'm pretty sure you're safe though.
Hi Marlon, Thanks for your response. It's full steam ahead for me then. I'll let you know when I make my first million.
Yeah, Buddy! that's the attitude! Rooting for you!
Thanks for the video! Can I be with more than one library? Also, if I am with a library, can I also do business with someone directly if they come through my website? If so, do libraries normally try to get money from that deal even though they didn't find me the work? I know it depends on each company etc., but what's your general thoughts on this? Cheers 👍
Hey there, what you're referring to is Exclusive vs Non-exclusive.. It refers to the music (not the artist). Some Libraries want Exclusive, meaning you can't have the same track in another Library, and that includes re-titling it so it reads different but is essentially the same track. (but you can write different music for another Library). Non-Exclusive... you can license said track with another Library, or even sell on your website - and NO, the Library doesn't get a cut of a track you sell or license from your site.
Love your video!
Much appreciated!!
Whats the difference between a music library and all these 'royalty free music' sites that also allow artists to submit music. Is it the same thing?
Royalty-Free vs Rights Managed. Many argue that one is better than the other, but it really comes down to what your goal and approach is. There are success stories with both models. Rights managed, you would first register yourself with a P.R.O. of your Country (Performance Rights Organization, e.g. ASCAP, BMI..etc). Then register your works with said P.R.O. before submitting them to a (non Royalty-free Library) The benefit here is the P.R.O. will work to see that you are paid (royalties) when your music is used in broadcast (TV, Radio..etc). Bottom line, if you're considering a Royalty-Free Library, I'm very confident that they will provide an agreement that explains the terms of your music, what you'll earn when they license your track, if it's exclusive or non-exclusive (meaning you can or cannot pitch it to another Library or license it elsewhere). In either model, you still own the music, both models only sell a "license" to the user so they can use the music, not re-sell it.
@@MarlonGibbons Thx Marlon, really appreciate your detailed response. If you ever offer 1 on 1 consulting, please contact me. Thx!
@@MarlonGibbons Ok! Thanks for your clarification. But does royalty and royalty free go together for one and the same person?
I`m still confused on what a Music Library is, like is it TAXI, for example?
I have a video that I did this past Dec, titled "Music Library Basics for Beginners". I break down what a Music library is. The title says it all.
Great info, thanks!
Thanks for taking the time to watch.
Very helpful to songwriters! @@MarlonGibbons
Hey Marlon, really enjoying your videos. I have a suggestion for a "n00b" topic: organizing your music. I've worked with database-driven web sites for decades and it's rather astounding to me that I can't find an app or ready made database program designed for musicians and composers to use for organizing, classifying, and tracking their music pieces, other than throwing them into a spreadsheet, which is inefficient.
How do you organize your tracks?
Thanks in advance, and keep up the good work - it's refreshing to find such real, down to earth content that's not a lot of hype or sales pitch!
~ Michelle
Hey Michelle, thanks for the kind words. Glad you're enjoying and yeah, no sales pitch here. There exists software called "soundminer" for file and data management. While I personally don't use it, I hear it's incredible. I do have my own method of keeping track of my files though, thanks for the topic idea, I'll schedule into a video in coming weeks! Thanks, Michelle & Cheers!
Thanks for the reply! I'll check that out, and watch for future videos on the topic. Now, where did I put that song that was "heroic and triumphant?" Or was it "hectic and transitional?" :)
Why’s everybody scared to give out names of music libraries on TH-cam??
No1MC search music supervisors on twitter and look at who they are following. A majority of the time there’s a bunch of music libraries in their follows.
Frank Schlimbach - Composer thank you
Frank Schlimbach - Composer I applaud you and your efforts. Thank you
@Frank Schlimbach - Composer Thanks! You are real one! 💯👊
@Frank Schlimbach - Composer You're welcome. Ive been in the music licensing business a few years and I have seen some good checks. Biggest checks were for Work For Hire projects thru Libraries. Backend money has been consistant so Im always looking for new companies with bigger opps. Thx again!
I'm sorry, but I missed the part where you explained what a library is. Is this video for the pros or the beginners?
Hi Natalie, firstly… let me say thank you for taking the time to tune in. I appreciate the question.
The video is defiantly for beginners, but.. admittedly it’s no help to you if you don’t know what a Music Library is. A simply explanation is.. a Music Library is a collection of music, aka “Catalog” that is made available for licensing (a fee to use, not own). It’s somewhat similar to you going to the Public Library to fetch a book, that will help you with your project.
If you Google “Music Library” or “Production Music Library” it will give you much more detail than I have. All that said, a (reputable) Music Library will help you get your music placed into TV / Film and other media projects. There’s a lot of details in between, but that’s as basic as I can explain it.
Again, thank you for the question, didn’t mean to exclude anyone.
@@MarlonGibbons Thanks for the reply - wasn't expecting one! I'm someone who is just starting to think about pushing their composition ability but who is not in the loop so to speak. Videos like yours help.
I didn't know there was a thing such as these music libraries. I guess once you get passed the motivational youtube videos, you start to look for more practical advice like this. Also, I'm from Australia and I feel like we are a less sales-y type people - no one has that mindset really.
@@nataliethomson240 I genuinely wish you the best, in your journey!
Helpful video
Thanks for watching!
Nice video
Thanks, Alex
can you provide specific library's you submit to?
Can you have more than one PRO account?
You can only have 1 PRO as a WRITER but you can join MULTIPLE PROs as a PUBLISHER.
Spit it out!!! 3 mins of information in 15 minutes!!!! DAMN!!!!!