You’re probably looking at the title of this post and thinking: “Both.” And in an ideal world, you’d be right. You’d pump out a large quantity of stunning music each month. Or each week. Yet for most of us, our higher quality tracks take us longer to write and produce than some of the other …
What’s dull, confusing, but a must for composers, producers and songwriters to understand? Music rights! Ok, I admit it: there’s no way to make this appealing or alluring. But give me just over 5 minutes and I’ll explain to you all 7 of the major music rights that you need to know in a clear …
If the ins and outs of royalties regarding Library Music leave you a bit confused, here’s a simple guide to how it all works, from the very basic through to a few common questions. What is a royalty? What we’ll be talking about here are “performing royalties”. Simply put, these are recurring payments …
Towards the end of 2018 I was a panelist and mentor at a Film and TV composers convention in Los Angeles, California. The panel I had spoken on were critiquing tracks that were played for us at random from audience members and also talking to them of the suitability of these tracks for Production Music …
I went to visit my friend Matt last week in his home studio in Brooklyn. Matt is a really accomplished Library Music writer. He’s always working on several projects, usually for a handful of great Libraries. They pay him good upfront fees for his tracks, (typically $600 to $800 at the time of writing this …
Successful Production Music composers that I know really have got their skill-set down: The production sounds great and authentic to the style. The mix sounds clear and works for TV. But perhaps most importantly… The tracks ooze application. How Did They Do That?! Dig a little deeper into a …
Wouldn’t it be great if you could know what kind of music Music Libraries were looking for and, even better, to be able to do that without even asking them? With the Music Library I co-own, you’d be surprised how little we’re asked what kind of music we’re looking for. Most people just send a …
There is a thing, that 80% of composers that are trying to get their music into Music Libraries overlook. If you’re trying to get Production Music placed into Music Libraries yourself and you overlook this one aspect, most Music Libraries are unlikely to take your tracks. Even if they do accept them, you’re usually going …
You’re onto a good idea in the studio. Maybe you spent a few hours producing up this little hook, chord sequence or groove. The next morning you enthusiastically fire up the computer, listen back, and… …well… …let’s be kind and describe it as “incredibly underwhelming”. Looks like you just had a visit from the Mediocre Fairies. …
You just feel like you’ve written the track of your life. Should you contract it to a Music Library?