421:
Typically, a library will receive 50 percent of the performance income (this is known as the publisher's share), with the composer receiving the remaining 50 percent. Like license fees, performance income is highly variable and dependent on the nature of the usage; local radio usage will yield modest income—perhaps a few dollars each time it is played. Repeated use in a primetime network TV show can generate thousands of dollars. Another method, in the United States, of collecting royalties for performances of production, stock, and library music is through directly negotiating royalties with composers and bypassing PROs. BMI and ASCAP, and more recently SESAC, no longer have exclusive representation of composers for the collection of performance royalties. By directly negotiating the performance royalties with rights holders, licensees can pay less for the performance of a cue of music, and the licenser (the rights holder) can receive more than the PRO would pay. This is because of the removal of not only the administrative costs incurred through a PRO collecting royalties, but the removal of the "weight variable" which pays the highest performing songwriters and composers a portion of all fees collected.
484:
clients simultaneously, provided that they are not contractually bound by an exclusive agreement with another company. The non-exclusive library doesn't own the rights outside of the licenses that are made by that library. Typically the library does not pay for the piece, and the artist doesn't get any payment until the piece is licensed at which point the library and the artist split the license fee equally. Libraries typically require the artist to rename the piece in effect creating a unique art work for the library to register with their PRO (BMI, ASCAP, SESAC). Should the composer want to enter the piece into an exclusive agreement with a library or client, they would first need to remove that piece from all non-exclusive agreements.
431:
this scenario, the show producer identifies those scenes they feel are most important to the success of the show, and those scenes are scored to picture by the composer. Those less important scenes will utilize the library also provided by the same publisher/composer. Upon completion, the custom music and the library tracks are licensed together under one production blanket, the ownership of the custom music remains with the publisher who produced it, and the publisher can (after a term of exclusivity negotiated between the parties) re-license the custom music as part of its library to recoup production costs.
475:(also known as "royalty collection agencies"). These companies license music to their customers on a non-exclusive basis where it can be used in perpetuity without any usage reporting. The music is licensed by the customers according to an accepted license agreement, and they cannot sell it or license it to others. Because of advancing technology, it is becoming easier for independent musicians to set up their own shops through which they can license music.
468:
libraries depend mainly on performance royalties for their income (with a small amount of income from sales of physical CDs or online track downloads). Assuming that the music is broadcast, royalties are paid on the music, though it is the broadcaster who pays them via annual fees to the performing rights societies, not the producer who uses the music in their production.
430:
This method of licensing combines the creation of original, custom music with a catalog of traditional "library" music under one license agreement. The goal is to suit the needs of a budget conscious production but still provide that production with a unique and original show theme or audio brand. In
420:
in the UK, who then distribute income among their members. To ensure it is distributed fairly and accurately, most broadcasters are required to keep note of what music they have broadcast and for how long. This information is then used by the performance societies to allocate income to their members.
487:
An advantage to using a non-exclusive library is the possible broad exposure through multiple outlets, and the ability of the artist to retain control. Conversely, if an artist sells their piece to an exclusive library they are paid upfront for the piece but the artist typically sells the publishing
483:
Non-exclusive production music libraries enable a composer to sign a non-exclusive agreement allowing the artist to license the same piece to other libraries and clients with the same non-exclusive agreement. In other words, their intellectual property (their composition) can be licensed to multiple
392:
These are the fees paid upfront to the library for permission to synchronize its music to a piece of film, video or audio. These fees can range from a few dollars for internet usage, to thousands for network commercial usage. Some libraries, especially in the UK and Europe, split these fees with the
467:
model. These libraries do not charge their customers for licensing the music. Instead, the customers purchase a CD or access to an electronic collection of music—priced typically between 50 and 300 dollars—whose content is licensed in perpetuity for them to synchronize as often as they wish. These
70:
basis. Production music is a convenient solution for media producers—they are able to license any piece of music in the library at a reasonable rate, whereas a specially commissioned work could be prohibitively expensive. Similarly, licensing a well-known piece of popular music could cost
434:
This allows the music composer/producer to quote lower rates because they are retaining ownership of the custom music, and will have the ability to make money with the same recording in a different production later on. It also allows the program or film producer to deliver content of very high
403:
Performances income is generated when music is publicly performed—for example, on television or radio. The producer of the show or film that has licensed the music does not pay these fees. Instead, large fees are paid annually by broadcasters (such as television networks and radio stations) to
393:
composer of the music. In the US, it is more common for a composer to be paid a work-for-hire fee upfront by the library for composing the music, thus waiving their share of any future license fees. In the UK, license fees for production music are nationally standardized and set by the
247:, library music gained wider appeal in the 1990s when it was made public for the first time. In the 1980s, there were hundreds of library companies producing music with old records becoming redundant, especially with the advent of CDs. By the mid-1990s, these companies, many located in
65:
in a composition, production music libraries own all of the copyrights of their music. Thus, it can be licensed without the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a
85:
Production music libraries typically offer a broad range of musical styles and genres, enabling producers and editors to find diverse types of music within the same library. Music libraries vary in size from a few hundred tracks up to many thousands.
217:
Production music composers and session performers typically work anonymously and have rarely become known outside their professional circle. In recent years some veteran composer-performers in this field such as Alan
Hawkshaw, John Cameron and
226:
cues recorded for KPM and other labels, which have been widely sampled by DJs and record producers. In recent years, some of these
British musicians have given public performances of their classic compositions under the group name
251:, London, were dumping their old and obsolete vinyl records on local record and charity shops. Many record collectors became interested in the genre, and it gained a cult following. Trunk wrote the first book on the subject,
451:
89:
Production music is frequently used as theme or background music in radio, film and television. Well-known examples of
British TV series with theme songs sourced from library catalogs include
405:
450:
734:
760:
435:
quality, ensures that the most important scenes have the perfect music, and those less important scenes are addressed with an affordable solution.
214:—including many pieces familiar from their use in earlier cartoons—which were chosen for their ironic, suspenseful, patriotic and humorous effect.
394:
449:
222:
have achieved attention and popularity as a result of a new interest in production music of the 1960s and 1970s, notably the 'beat' and
497:
210:, which use well-known classical music excerpts and a wide range of pre-1960s production music cues, some of which were composed by
463:
With the proliferation of music libraries in recent years and the increase in competition, some smaller libraries have evolved the
328:
167:
also made extensive use of production library cues (many sourced from the De Wolfe catalogue) as background or incidental music.
933:
The Mood Modern: The story of two of the world's greatest recorded music libraries: KPM (1956-1977) and Bruton Music (1978-1980)
472:
163:
409:
636:
49:
to customers for use in film, television, radio and other media. Often, the music is produced and owned by production
866:
710:
112:
331:
library music has the music libraries of
Chappell Recording Music Library, Bruton, Atmosphere, and others such as
955:
327:
The production music market is dominated by libraries affiliated with the large record and publishing companies:
761:"Professional Production - Technologie und Medienrealisation in Film und Video | Sonoton – die ersten 50 Jahre"
914:, BBC Radio documentary, presenter Jonny Trunk, producer Simon Hollis, Brook Lapping Productions, April 2011
901:
785:
200:
128:
142:
107:
71:
anywhere from tens to hundreds of thousands of dollars, depending on the prominence of the performer(s).
356:
352:
340:
206:
172:
186:
607:
960:
374:
828:
274:, have used it for its unique musical quality. Library music has been sampled by artists including
157:
97:
310:, have also been inspired by the library music model and distribute some of their compositions as
896:
336:
510:, who has produced a wide variety of royalty-free library music under Creative Commons licenses
848:
684:
61:
Unlike popular and classical music publishers, who typically own less than 50 percent of the
311:
303:
267:
117:
255:, published in 2005, and in the following years many classic production music records were
219:
50:
46:
543:
365:
is the largest independent production music library. Other independent libraries include
78:
in 1927 with the advent of sound in film. The company originally scored music for use in
660:
366:
275:
181:
75:
810:
949:
513:
507:
456:
417:
348:
332:
263:
244:
146:
102:
67:
291:
228:
177:
397:. In the US and elsewhere, libraries are free to determine their own license fees.
137:("Chicken Man" by Alan Hawkshaw). The Christmas hit single based on the character
17:
385:
The business model of production music libraries is based on two income streams:
170:
American TV has also utilized production music, most notably with the themes for
370:
307:
299:
240:
223:
211:
195:
151:
133:
79:
471:
Some companies offer truly royalty-free music which is not registered with any
339:
Production Music, which includes the
Cavendish, Abaco and Strip Sounds labels;
759:
Video, Professional
Production-Technologie und Medienrealisation in Film und.
287:
283:
149:", written in 1924, still serves as the theme for long-running BBC Radio soap
123:
91:
270:-clearance issues faced with commercial music releases while others, such as
910:
523:
518:
502:
344:
138:
62:
191:
362:
256:
488:
rights, hence losing control of the piece and future licensing fees.
271:
867:"7 Best Royalty Free Music Websites & Services For Filmmakers"
447:
413:
279:
42:
786:"Navigating Music Copyright: A Guide for New Artists | SongLifty"
583:"Benny's Place • Essay on The Stock Music of The Benny Hill Show"
582:
266:
hip hop producers. Some were interested, in part, because of the
735:"BMG Production Music: BMG grĂĽndet Agentur fĂĽr Produktionsmusik"
248:
141:
uses excerpts from "Mr
Jellybun" by Paul Shaw and David Rogers.
295:
711:"Library Music Is Changing the Sampling Game In Hip-Hop"
101:("Studio 69", sometimes known as "Blarney's Stoned", by
335:; Concord Music owns Imagem Production Music, formerly
926:
Unusual Sounds: The Hidden
History of Library Music
262:In the 2000s, library music also began to interest
74:The first production music library was set up by
829:"Licensing Performance Royalties & Licenses"
404:performing rights organizations (PROs) such as
400:Performance income (or performance royalties)
8:
355:runs its own production music division; and
942:. Fuel, 2005, revised and expanded 2016.
637:"The What, How and Why of Library Music"
535:
359:owns Warner/Chappell Production Music.
7:
895:Zoladz, Lindsey (July–August 2012).
685:"The Strange World of Library Music"
630:
628:
239:As noted by library music historian
115:), the original theme for the BBC's
95:("Pop Looks Bach" by Sam Fonteyn),
709:Herbert, Conor (21 October 2019).
498:List of films in the public domain
459:, an example of royalty-free music
194:). Other notable examples are the
25:
938:Trunk, Jonny and Dammers, Jerry:
635:Trunk, Johnny (August 26, 2019).
544:"How to use royalty free music?"
329:Universal Music Publishing Group
306:. Some music producers, such as
473:performance rights organisation
389:License or synchronization fees
121:("News Scoop" by Len Stevens),
455:"Monkeys Spinning Monkeys" by
1:
569:De Wolfe Millennium Catalogue
312:production music for sampling
164:Monty Python's Flying Circus
849:"U.S. Television Royalties"
155:. TV comedy series such as
27:Stock music for film and TV
977:
765:Professional-production.de
571:. London: De Wolfe Music.
567:De Wolfe, Warren (1988).
111:("Approaching Menace" by
608:"The KPM All Stars live"
127:("Rescue Helicopter" by
479:Non-exclusive libraries
201:The Ren and Stimpy Show
911:Into the Music Library
641:Red Bull Music Academy
460:
444:Royalty-free libraries
454:
426:Hybrid license method
357:Warner Chappell Music
353:BMG Rights Management
341:Sony Music Publishing
207:SpongeBob SquarePants
173:Monday Night Football
375:West One Music Group
661:"The Music Library"
337:Boosey & Hawkes
158:The Benny Hill Show
98:Dave Allen At Large
928:. Anthology, 2018.
924:Hollander, David:
811:"COPYRIGHT BASICS"
465:royalty-free music
461:
416:in the US and the
190:("The Big One" by
187:The People's Court
18:Royalty-free music
940:The Music Library
935:. Vocalion, 2018.
871:The Tech Reviewer
452:
253:The Music Library
16:(Redirected from
968:
956:Production music
906:
882:
881:
879:
878:
863:
857:
856:
845:
839:
838:
836:
835:
825:
819:
818:
807:
801:
800:
798:
797:
782:
776:
775:
773:
772:
756:
750:
749:
747:
746:
731:
725:
724:
722:
721:
706:
700:
699:
697:
696:
681:
675:
674:
672:
671:
657:
651:
650:
648:
647:
632:
623:
622:
620:
618:
604:
598:
597:
595:
593:
579:
573:
572:
564:
558:
557:
555:
554:
540:
453:
304:Ghostface Killah
235:As popular music
198:animated series
31:Production music
21:
976:
975:
971:
970:
969:
967:
966:
965:
946:
945:
931:Lomax, Oliver:
921:
919:Further reading
897:"Beat Boutique"
894:
891:
886:
885:
876:
874:
865:
864:
860:
847:
846:
842:
833:
831:
827:
826:
822:
809:
808:
804:
795:
793:
784:
783:
779:
770:
768:
758:
757:
753:
744:
742:
733:
732:
728:
719:
717:
708:
707:
703:
694:
692:
683:
682:
678:
669:
667:
659:
658:
654:
645:
643:
634:
633:
626:
616:
614:
606:
605:
601:
591:
589:
581:
580:
576:
566:
565:
561:
552:
550:
542:
541:
537:
532:
524:Test card music
494:
481:
448:
446:
441:
428:
383:
325:
320:
237:
220:Keith Mansfield
113:Neil Richardson
59:
51:music libraries
33:(also known as
28:
23:
22:
15:
12:
11:
5:
974:
972:
964:
963:
958:
948:
947:
944:
943:
936:
929:
920:
917:
916:
915:
907:
890:
889:External links
887:
884:
883:
858:
840:
820:
802:
777:
751:
726:
701:
676:
652:
624:
599:
574:
559:
534:
533:
531:
528:
527:
526:
521:
516:
511:
505:
500:
493:
490:
480:
477:
445:
442:
440:
437:
427:
424:
423:
422:
401:
398:
390:
382:
381:Business model
379:
367:Vanacore Music
324:
321:
319:
316:
276:the Avalanches
236:
233:
182:Johnny Pearson
76:De Wolfe Music
58:
55:
41:) is recorded
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
973:
962:
959:
957:
954:
953:
951:
941:
937:
934:
930:
927:
923:
922:
918:
913:
912:
908:
904:
903:
898:
893:
892:
888:
872:
868:
862:
859:
854:
850:
844:
841:
830:
824:
821:
816:
812:
806:
803:
791:
790:songlifty.com
787:
781:
778:
766:
762:
755:
752:
740:
736:
730:
727:
716:
712:
705:
702:
691:. 20 May 2014
690:
686:
680:
677:
666:
662:
656:
653:
642:
638:
631:
629:
625:
613:
609:
603:
600:
588:
584:
578:
575:
570:
563:
560:
549:
545:
539:
536:
529:
525:
522:
520:
517:
515:
514:Stock footage
512:
509:
508:Kevin MacLeod
506:
504:
501:
499:
496:
495:
491:
489:
485:
478:
476:
474:
469:
466:
458:
457:Kevin MacLeod
443:
438:
436:
432:
425:
419:
415:
411:
407:
402:
399:
396:
391:
388:
387:
386:
380:
378:
376:
372:
368:
364:
360:
358:
354:
350:
349:Extreme Music
346:
342:
338:
334:
333:Killer Tracks
330:
322:
317:
315:
313:
309:
305:
301:
297:
293:
289:
285:
281:
277:
273:
269:
265:
264:crate-digging
260:
258:
254:
250:
246:
245:Trunk Records
243:, founder of
242:
234:
232:
230:
225:
221:
215:
213:
209:
208:
203:
202:
197:
193:
189:
188:
183:
179:
175:
174:
168:
166:
165:
160:
159:
154:
153:
148:
147:Barwick Green
144:
140:
136:
135:
130:
126:
125:
120:
119:
114:
110:
109:
104:
103:Alan Hawkshaw
100:
99:
94:
93:
87:
83:
81:
77:
72:
69:
68:work-for-hire
64:
56:
54:
52:
48:
44:
40:
39:library music
36:
32:
19:
939:
932:
925:
909:
902:The Believer
900:
875:. Retrieved
873:. 2017-08-11
870:
861:
852:
843:
832:. Retrieved
823:
814:
805:
794:. Retrieved
792:. 2023-10-08
789:
780:
769:. Retrieved
764:
754:
743:. Retrieved
739:Horizont.net
738:
729:
718:. Retrieved
714:
704:
693:. Retrieved
688:
679:
668:. Retrieved
664:
655:
644:. Retrieved
640:
615:. Retrieved
611:
602:
590:. Retrieved
586:
577:
568:
562:
551:. Retrieved
548:joystock.org
547:
538:
486:
482:
470:
464:
462:
433:
429:
384:
361:
326:
292:Flying Lotus
261:
252:
238:
229:KPM Allstars
216:
205:
199:
185:
178:Heavy Action
171:
169:
162:
156:
150:
132:
129:John Cameron
122:
116:
106:
96:
90:
88:
84:
73:
60:
45:that can be
38:
34:
30:
29:
961:Stock media
767:(in German)
741:(in German)
371:ALIBI Music
308:Frank Dukes
300:Swizz Beatz
288:A$ AP Rocky
241:Jonny Trunk
224:electronica
212:Emil Cadkin
196:Nickelodeon
152:The Archers
143:Arthur Wood
134:Grange Hill
80:silent film
35:stock music
950:Categories
877:2017-08-15
834:2020-04-11
796:2024-01-08
771:2019-03-04
745:2019-03-04
720:2021-06-03
695:2021-06-03
670:2021-06-03
646:2021-06-03
587:Runstop.de
553:2020-12-01
530:References
124:Crimewatch
118:Grandstand
108:Mastermind
92:Ski Sunday
57:Background
689:Pitchfork
617:7 January
592:7 January
519:KPM Music
503:APM Music
439:Libraries
345:KPM Music
139:Mr Blobby
63:copyright
492:See also
318:Industry
257:reissued
192:Alan Tew
47:licensed
715:DJBooth
363:Sonoton
284:Beyoncé
323:Market
272:Madlib
268:sample
184:) and
131:) and
815:TVMLC
612:Bl.uk
414:SESAC
406:ASCAP
343:owns
280:Jay-Z
180:" by
43:music
665:FUEL
619:2021
594:2021
412:and
395:MCPS
373:and
347:and
302:and
249:Soho
204:and
161:and
145:'s "
853:BMI
418:PRS
410:BMI
296:RZA
105:),
37:or
952::
899:.
869:.
851:.
813:.
788:.
763:.
737:.
713:.
687:.
663:.
639:.
627:^
610:.
585:.
546:.
408:,
377:.
369:,
351:;
314:.
298:,
294:,
290:,
286:,
282:,
278:,
259:.
231:.
176:("
82:.
53:.
905:.
880:.
855:.
837:.
817:.
799:.
774:.
748:.
723:.
698:.
673:.
649:.
621:.
596:.
556:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.