Production music

As a production music (including library music or stock music ) is referred to music that is owned by the so-called Music Libraries and Music titles from production music archives comprises whose license be purchased for use in TV, film, advertising, video games, corporate videos, YouTube etc. can.

Use

This music is used in film, television, radio and other media. In contrast to classical music publishers, who have generally have less than 50 percent of the copyright of a composition, production music libraries or production music libraries own all copyrights to their music. This means that the music can be licensed without the permission of the composer. The reason for this is that almost all the songs are composed for production music libraries on their behalf. The production of the music is therefore a convenient solution for media producers: they can be sure that every piece of music is to acquire the catalog to a clear license price ratio.

Production music libraries typically offer a wide range of musical styles and genres. The first production music library was set up by De Wolfe Music in 1927 with the advent of the talkies. These were mostly wax cylinders on which the music was engraved. Earlier, the company was limited to writing music for silent films and print the notes. Musicians who were looking for appropriate music for these films were able to buy the sheet music with the game proposals set out then. Production music is often used as the main theme and / or background music in radio, film and television. Library composers and performers working anonymously and are rarely known outside their own professional circle. Only in recent years achieved some composers (eg, Alan Hawkshaw, John Cameron and Keith Mansfield) cult status as a result of new interest in the production of music of the 1960s and 1970s, most notably the ' beat' and electronica recordings for lables such as KPM, the commonly used by DJs and producers. Even today, this musical still use film. So the director Quentin Tarantino used as production music by Keith Mansfield for the film Kill Bill. Since the records were sold with production music often directly broadcasting archives and did not come in free trade, they are considered by collectors today as a rare and very valuable. This fact has ensured that many of the recordings are republished.

Business Model

The business model of production music libraries is based on two sources of income:

These are the fees that are paid in advance at the library to use their music in film, video or audio contributions. Some libraries, especially in the UK and Europe who share these fees with the composer of the music. In the U.S., it is common that the composer in advance receives an order fee by the Library and then waived its share of future royalties.

This is generated when the music is performed in public, such as television or radio. The producer of the show or the film, which has licensed the music, these fees are not paid for it. Instead, high annual fees from broadcasters are required (such as television and radio stations ) that are paid to the collecting societies such as ASCAP, BMI and SESAC in the U.S. or the GEMA in Germany, which then distribute the income to its members. To ensure that it is distributed fairly and accurately, most of the channels must specify which music have aired it and how long it was played. This information is then used by the companies to fairly distribute the proceeds to its members. Typically receives a Library 50 percent of income ( the so-called publisher's share ), the composer receives the remaining 50 percent. As the royalty is payment for performance rights very variable and depends on the type of use.

Market

The market for music production is dominated by the associated with the major record companies and publishers Libraries: KPM is owned by EMI, the Music Library is Selected Sound; Universal Music Publishing Group, the Music Libraries Chappell, Bruton and Atmosphere and Firstcom and killer tracks under their own names; Extreme Music is owned by Sony / ATV Music Publishing; and Warner / Chappell ( a division of Warner Music Group ) has Non-Stop Music. There are numerous smaller independents in the market like Reliable Source Music in Marylebone London, Megatrax Production Music in North Hollywood, CA, Altitude Music in East London, Vibey Library of London, Musync of San Francisco, Smashtrax Music LLC, based in Los Angeles, JW Media Music, DirectComposer.Com, West One Music Group, with its own label West One Music, The scoring House, Refuel Music and Fired Earth Music, and Cinephonix Music. In Europe, Cezame (France), ROBA Production Music ( Germany ), UBM Media ( Germany ), Sonoton ( Germany ), Intervox, formerly Movie Art Music Publishing ( Germany ), CosMind Production Music ( Germany ), Popvirus Library ( Germany ), ring Music ( Germany ); Proud Music Library ( Germany ); Soundiva (Italy ), Artful (UK ) Audio Network (UK) to the established independent libraries.