![]() They have the industry contacts, know-how and sales expertise you might not have. The music libraries are like literary agents: they form the middlemen between you (the writer) and the people who’ll use your music (the publishing company). You might reasonably ask the question of why you should have a library representing you in the first place. Click Here to read our guide to Building a Library Trac k It’s a Demo Sometimes, music used in this fashion may have nothing to do with a library at all – it could simply be a piece of your music that someone has come to you to use.Very obviously, this is an extremely simplified version of what actually happens, but, in general, that’s how the industry works. You may be signed on a freelance basis to work on a particular project. Music supervisors – who are in charge of selecting music for film and television – may commission you to produce something especially for them. If you become well-known enough, companies may begin asking specifically for your services. They may want it exclusively, or they may want you to tweak a few things. We’ll deal with them in more detail a little later. They’re the organisations that collect money when music is used, and if they’re doing their job, you’ll get paid there as well. In addition, you’re also paid by the MCPS/PRS (Mechanical-Copyright Protection Society/Performing Right Society). Depending on what the track is being used for, you could end up being paid a few quid – for the use of a track in a small radio ad, for example – or a hell of a lot of money if a company like Electronic Arts wants it for the next Dead Space (very unlikely, we should point out, but nonetheless a possibility!). Jaikoz tutorials license#They contact the music library and ask to license the track – ie, to purchase its use for a specific purpose. Maybe they ask you to make more, or focus on a specific style that they can hear you’re good at. That means your tracks will appear on their website, available to listen to. If it works out well, the library bigwigs like what you present, and offer to put you on their roster. Today, nearly all library companies are online, although quite a few still create CDs of music to send out to industry contacts. A music library is just that: a library of music, sorted by styles, tempo, length, keywords and whatever other metadata can be dreamed up. In most cases, that means going to a music library, which is where the term gets its name from. You’ve got a bunch of tracks together – a good demo that shows off your versatility and musical chops. Let’s say that you want to get in on the library-music game. Jaikoz tutorials how to#We’ll use it to break down the things you need to remember when creating a library track, including how to create shorter versions and how to separate out stems, and at the end, we’ll turn it over to a music library to see whether it passes muster. We’ve also built our own library track from scratch – a classical monster that would quite happily work in the credits sequence of any Viking or crusader film. We’ll chat to composers, library owners and music supervisors, finding out what they do and getting their tips on how to get called back again and again. In this feature we’re going to walk you through everything to do with library music – how it’s made, where it’s used, who uses it (and why). You’re not releasing a track under your own name it’s going out under the name of a production company. You’ll face immense competition, a massive industry that can often be rather set in its ways, and – like any producer – you’ll often have to fight to get paid! More importantly, you have to get used to the fact that once your music is being used, it’s no longer your own. While it can be a nice way to generate income and cement a reputation, cracking the library music safe is a very tough job. Of course, there’s also bad news – when you’re trying to make a living from music, there’s always bad news. Jaikoz tutorials tv#And anyone can make library music (we’re going to stick with this term for now to avoid confusion), so although there are a few things to bear in mind, you’re not going to be using any production techniques that differ from what you’re doing already: chances are that you’ve already made some music that could work in a library, and which would also be quite comfortable sitting under the credits of a hot new TV series. Jaikoz tutorials series#A single hit can make a musician’s name think about the use of Imogen Heap’s Hide And Seek in the television series The OC. ![]()
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