Production music

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Music production (also known as music stock or library music ) is the name given to licensed music recordings for use in movies, television, radio and other media. Often, music is produced and owned by music production libraries.

Video Production music

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Unlike popular and classical music publishers, which typically have less than 50 percent copyright in a composition, the music production library owns all of their music copyrights. Thus, it can be licensed without the composer's permission, as required in the music license of a normal publisher. This is because almost all the music created for the music library is done on a job basis for hire. Music production is an easy solution for media producers - they can be assured that they will be able to license every piece of music in the library at a reasonable rate, whereas specially commissioned work can be very expensive. Likewise, licensing a popular musical masterpiece can cost between tens and hundreds of thousands of dollars, depending on the superiority of the players.

Production music libraries typically offer a wide array of musical styles and genres, allowing manufacturers and editors to find what they need in the same library. Music libraries vary in size from several hundred tracks to thousands. The first music production library was founded by De Wolfe Music in 1927 with the advent of sound in the film. The company originally scored music for use in silent films.

Music production is often used as a theme and/or background music on radio, film and television. A popular example of the English TV series whose themes come from library catalogs including Ski Sunday ("Pop Looks Bach" by Sam Fonteyn), Dave Allen At Large < The "Original" for the BBC Grandstand ("Scoop News" by Len Stevens), Crimewatch i> ("Rescue Helicopter" by John Cameron) and Grange Hill ("Chicken Man" by Alan Hawkshaw). Arthur Wood's "Barwick Green", written in 1924, still serves as a theme for BBC Radio's long-running radio The Archers . TV comedies such as The Benny Hill Show and Monty Python Fly Circus also utilize extensive production library cues (many from the De Wolfe catalog) as background or incidental music.

American TV has also used production music, especially with the theme for Monday Night Football ("The Big Measures" by Johnny Pearson) and The People's Court ("The Big One" by Alan Tew). Other notable examples are the Nickelodeon animated series The Ren and Stimpy Show and SpongeBob SquarePants, which uses famous classical music quotes and various pre-1960 production music cues - including many pieces that familiar from its use in previous cartoons - selected for their ironic and funny effects.

Production music composers and session players usually work anonymously and are rarely known outside their professional circle. In recent years some of the veteran composer players in this field such as Alan Hawkshaw, John Cameron and Keith Mansfield have achieved attention and popularity as a result of a renewed interest in music production in the 1960s and 1970s, notably the 'beats' and electronica cues recorded for KPM and other labels, which have been widely exemplified by DJs and record manufacturers. In recent years some of these British musicians have given public performances of their classical composition under the name of the Allstars KPM group.

Maps Production music

Business model

The business model of the production music library is based on two streams of income:

License or sync charge

These are fees paid in advance to the library for permission to sync their music onto a movie, video, or audio sheet. These fees can range from a few dollars for internet use, up to thousands for commercial use of the network. Some libraries, especially in the UK and Europe, share these costs with composers. In the US, it is more common for a composer to pay for library work-to-hire fees to compose music, thus freeing its share of future licensing fees. In the UK, licensing fees for production music are of national standard and set by MCPS. In the US and elsewhere, libraries are free to set their own license fees.

Performance revenue (or performance royalty)

Performance earnings are generated when music is made public - for example, on television or radio. Event producers or movies that have music licenses do not pay these fees. In contrast, large fees are paid annually by broadcasters (such as television networks and radio stations) to conduct rights organizations (PROs) such as ASCAP, BMI and SESAC in the US and PRS in the UK, which then distribute revenue among its members. To make sure it is distributed fairly and accurately, most broadcasters are asked to record what music they have been broadcasting and for how long. This information is then used by the performance community to allocate revenue to its members. Typically, the library will receive 50 percent of the performance revenue (this is known as the publisher's part), with the composer receiving the remaining 50 percent. Like license fees, performance earnings vary widely and depend on the nature of their use; the use of local radio will generate a modest income - maybe a few dollars each time it is played. Repeated use in primetime network TV shows can generate thousands of dollars. Another method, in the United States, collects royalties for library production, stock, and music shows is through direct royalty negotiations with composers and passes PRO. BMI and ASCAP, and recently SESAC, no longer have the exclusive representation of composers for performance royalty gathering. By directly negotiating performance royalties with rights holders, licensees may pay less for music signaling performance, and licensors (rights holders) can receive more than the PRO will pay. This is because removal is not only the administrative costs incurred through the PRO collection royalty, but the "heavy variable" removal that pays the highest performing songwriter and composer a portion of all costs accumulated.

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Market

The production music market is dominated by libraries affiliated with major record and publishing companies: KPM is owned by EMI; Music library Universal Music Publishing Group has a Chappell, Bruton, and Atmosphere music library in their own names as well as those owned by FirstCom and Killer Tracks; Imagem Production Music (formerly Boosey & Hawkes Production Music and includes the Cavendish label, Abaco and Strip Sounds) is owned by Imagem Music Group; Extreme music is owned by Sony/ATV Music Publishing; and Warner/Chappell (a division of Warner Music Group) owns Warner/Chappell Production Music. Founded in 1965, Sonoton is the largest independent music production library in the world. There are many independent libraries that include Vanacore Music and West One Music Group.

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Hybrid license method

This licensing method combines the creation of original and custom music with the traditional "library" music catalog under a license agreement. The goal is to meet the needs of a budget-conscious production but still provide production with the theme of a unique or original audio event or brand. In this scenario, the show producer identifies the scenes he thinks are most important to the success of the show, and the scenes are scored by the composer. The less important scenes will utilize the library which is also provided by the same publisher/composer. Once completed, custom music and library tracks are licensed together under a production quilt, indigenous musical ownership remains with the publisher producing it, and the publisher may (after the exclusivity period negotiated between the parties) re-license custom music as part of its library to recoup fees production.

This allows composers/music producers to quote lower numbers because they retain possession of special music, and will have the ability to make money with the same recordings in different productions later on. It also allows program or film producers to deliver very high quality content, ensuring that the most important scenes have perfect music, and those less important scenes are resolved with affordable solutions.

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royalty-free library

With the development of music libraries in recent years and increasing competition, some smaller libraries have developed a royalty-free model. This library does not charge their customers to license music. Instead, customers buy CDs or access to an electronic music collection - the price is usually between 50 and 300 dollars - whose content is seamlessly licensed so they can sync as often as they want. These libraries rely primarily on performance royalties for their earnings (with little income from physical CD sales or online song downloads). Assuming that the music is broadcast, royalties are paid on music, even though it is the broadcaster who pays them through annual fees to rights-performing societies, not producers who use music in their production.

Some companies offer royalty-free music that is not registered with any rights-based organization (also known as "royalty collection agency"). These companies licensed their music to their customers on a non-exclusive basis which can be used non-stop without reporting usage. This music is licensed by the subscriber in accordance with the license agreement received, and they can not sell it or license it to others. Due to technological advances, it becomes easier for independent musicians to set up their own store where they can license music.

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Non-exclusive library

The non-exclusive production music library allows a composer to sign a non-exclusive agreement that allows the artist to license the same portion to other libraries and clients with the same non-exclusive agreement. In other words, their intellectual property (their composition) can be licensed to many clients simultaneously, provided they are not bound by contract with an exclusive agreement with another company. Non-exclusive libraries have no rights beyond the license created by the library. Usually the library does not pay for the work, and the artist does not get any payments until the chip is licensed where the library and artists divide the license fees equally. Libraries usually require the artist to rename the work effectively, creating unique artistic pieces for the library to sign up with PRO (BMI, ASCAP, SESAC). If the composer wishes to include the work in an exclusive agreement with the library or client, they must first remove that portion of all non-exclusive agreements.

The advantage of using non-exclusive libraries is the possibility of extensive exposure through multiple outlets, and the artist's ability to maintain control. Conversely, if an artist sells his work to an exclusive library, he is paid up front for the work but the artist usually sells the publishing rights, thus losing control of the portion and cost of licenses in the future.

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See also

• Music license
• Share footage

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References

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External links

• Zoladz, Lindsey (July-August 2012). "Beat Boutique". The Believer .

Source of the article : Wikipedia