How to Get Your Songs in the Movies: Production Music Libraries

Most people have never heard of music libraries, but hear their music daily. Picture that movie you saw recently. Did you notice the music playing during the love scene, or as the actors are driving in the car? Can you imagine a car chase scene in a TV cop show, without some energetic, galloping song playing in the background during the wild drive? Well many of those songs and music clips are provided by production music libraries. And if you are a songwriter or a budding artist, those background songs playing could be yours!

What is a Music Library?

A music library maintains a catalog of songs available to be used in television, films, advertising or other media. Each song is considered 'source music' which means it can be used in increments of a few seconds to several minutes in a particular scene. This differs from the music that is scored for film projects, in which one musician is hired to write all the songs and background music for a project. Each "source" song can be used for as many projects for which it is suitable, possibly resulting in many production placements.

Each music library has staff that develops partnerships with songwriters and undiscovered artists to obtain songs for their catalog, as well as the creative directors in television and motion picture companies.A few Production Music Libraries that I know of locally or have worked with personally are Mastersource, Pump Audio, Wild Whirled Music, DSM Producers, MUSYNC and Source Q Boutique. To date, I have made money with Mastersource, DSM and Wild Whirled and not the others.

How do Music Libraries Work with Songwriters?

Production music libraries can act like a publisher for a songwriter; others just act as a conduit to the industry. Either way the music library shares in the revenues earned by the songs used. Once a song is signed with a music library, the library is free to exploit the song as they see fit and fill opportunities as they arise. The music library and songwriter or artist become business partners in the sense that the library promotes the songs and shares the money that song earns indefinitely.

Payment can come from the licensing of the song for a specific entertainment venue (a one time fee) and/or from on-going royalty revenue (which is paid for all songs that make it to TV and some other multi-media sources). You, as a songwriter, will earn your share of the revenue every time that movie or show airs!

When it comes to song rights, some production music libraries want exclusive control over the songs, considering the arrangement a "work for hire" wherein they acquire the copyright. Others allow the rights to remain with the songwriter. It is important to research each company for their policies. But keep in mind, sometimes giving exclusive control to the music library, may mean more money in your pocket and isn't necessarily a bad thing.

The cut between music library and songwriter can be 50/50 or 75/25 or any other percentage agreed upon. 50/50 is a typical arrangement.

How to Get Your Songs in a Music Library's Catalog

Music libraries reach out to the music community for new music on a regular basis. And you don't have to be a famous songwriter or band to get your songs into their catalogs. They want songs that are "radio ready", meaning they are fully produced and sound like songs you might hear on the radio.

Many Production Music Libraries attend Songwriter Association meetings looking for songs for their catalogs. In Arizona, our Songwriters Association President, Jon Iger, has invited many owners of music libraries to our meetings where we peddled our songs. I, personally have forged business relationships with two companies that have negotiated hundreds of placements in the entertainment industry for me.

Songwriters can also be proactive and contact production music libraries directly. The Music Business Registry sells a catalog that has up-to-date information on music publishers and libraries, complete with contact information that includes websites, phone numbers and email addresses. If you have songs that are ready to rock'n'roll, contact them via phone or email and start pitching!

Be respectful of the industry contact you reach. Their time is valuable so, don't push if they say they aren't looking for songs right now, or run at the mouth about how wonderful your work is or how important you are. They don't care about that and bragging can turn them off. Remember, it's all about the music and how much money it can make them.

What a Music Library Wants

Music publishers will want to hear a song or two and if they like them, they may ask for more to consider. They will be looking for:

*Songs that compliment their current catalog

*Songs that are fully produced (radio quality)

*Songs that are unencumbered and unpublished

*Songs that sound like real instrumentation and are original

*Songs with singers who sound professional

If they like your work and see potential for its music genre, they will also want:

*Songwriters who are easy to work with

*Songwriters to join a performance rights organization, such as ASCAP, BMI or SESAC

*Your signature on their contract that spells out the business arrangement

*The song tracks, lyrics and information about instrumentation and tempo.

If you have a catalog of songs that have not gotten picked up for an artist deal, pitching to production music libraries is a great course of action if you want to create a revenue stream that can last for years! Do a little research and start making inquiries. If your work is good, in no time at all, you'll might find yourself watching TV one night and hear your song playing in the background of some bar fight! And you'll think Cha-ching!

Related Reading about Songwriting:
"How to Get Your Song Published"
"Characteristics of a Good Song"
"How to Copyright a Song"