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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.

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 Ski Sunday ("Pop Looks Bach" by Sam Fonteyn), Dave Allen At Large ("Studio 69", sometimes known as "Blarney's Stoned", by Alan Hawkshaw), Mastermind ("Approaching Menace" by Neil Richardson), the original theme for the BBC's Grandstand ("News Scoop" by Len Stevens), Crimewatch ("Rescue Helicopter" by John Cameron) and Grange Hill ("Chicken Man" by Alan Hawkshaw). The Christmas hit single based on the character Mr Blobby uses excerpts from "Mr Jellybun" by Paul Shaw and David Rogers. Arthur Wood's "Barwick Green", written in 1924, still serves as the theme for long-running BBC Radio soap The Archers. TV comedy series such as The Benny Hill Show and Monty Python's Flying Circus also made extensive use of production library cues (many sourced from the De Wolfe catalogue)[3] as background or incidental music.

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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 Keith Mansfield have achieved attention and popularity as a result of a new interest in production music of the 1960s and 1970s, notably the 'beat' and electronica 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 KPM Allstars.[4]

As noted by library music historian Jonny Trunk, founder of Trunk Records, 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 Soho, 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.[5] Trunk wrote the first book on the subject, The Music Library, published in 2005, and in the following years many classic production music records were reissued.[5][6]

In the 2000s, library music also began to interest crate-digging hip hop producers.[7] Some were interested, in part, because of the sample-clearance issues faced with commercial music releases while others, such as Madlib, have used it for its unique musical quality. Library music has been sampled by artists including the Avalanches, Jay-Z, Beyonc, A$AP Rocky, Flying Lotus, RZA, Swizz Beatz and Ghostface Killah. Some music producers, such as Frank Dukes, have also been inspired by the library music model and distribute some of their compositions as production music for sampling.[8]

The production music market is dominated by libraries affiliated with the large record and publishing companies: Universal Music Publishing Group library music has the music libraries of Chappell Recording Music Library, Bruton, Atmosphere, and others such as Killer Tracks; Concord Music owns Imagem Production Music, formerly Boosey & Hawkes Production Music, which includes the Cavendish, Abaco and Strip Sounds labels; Sony Music Publishing owns KPM Music and Extreme Music; BMG Rights Management runs its own production music division; and Warner Chappell Music owns Warner/Chappell Production Music.[9]

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 this scenario, show producer identifies those scenes she/he feels 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.

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 quality, ensures that the most important scenes have the perfect music, and those less important scenes are addressed with an affordable solution.

With the proliferation of music libraries in recent years and the increase in competition, some smaller libraries have evolved the royalty-free music 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 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.

Some companies offer truly royalty-free music which is not registered with any performance rights organisation (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.[14]

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 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.

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 his/her piece to an exclusive library he/she is paid upfront for the piece but the artist typically sells the publishing rights, hence losing control of the piece and future licensing fees.

We got you. From classical to hip hop to indie, our audio library contains thousands of outstanding tracks. Use one of our 13 filters or check out other curated playlists to find what you need in minutes.

So if you pair the epic characteristic filter with the Soundtrack/Cinematic genre, your search will yield these results. Going a step further, you can layer additional filters to find music produced from a specific instrument to have either a very low, low, medium or high energy.

Soundstripe has dedicated an entire playlist category to Corporate & Advertising. This playlist includes the music best-suited for the subcategories of Rebellious Rock, Cheerful, Powerful, and Quirky.

Companies like Soundstripe handle licensing on the back end so that you can focus more on the creative side of production. To license music through Soundstripe, you need to disclose how you intend to use a song and get the all-clear to do so.

Copyrights are in place to prevent misuse of intellectual property like music. Even though the music licensing experience may look different when you use a music library versus another source, the process is more-or-less the same.

When you outsource songs from a music library, the licensing company will respond quickly if your video is flagged. As long as you have permission to use the music, the company will immediately dismiss the copyright infringement claim.

Outsourcing songs from a music library can simplify post-production by relieving some of the pressure from time-constraints, offering more music variety, and providing a cost-effective alternative to finding commercial music elsewhere.

Taking this approach saves you time and money in both the short and long-term. The time you save now can be applied later during post-production. The extra funds in the budget can either be directed toward new equipment, marketing efforts, or remain untouched.

An unlimited music library is an alternative designed to simplify the music licensing process for new and experienced creators alike. With a subscription plan, you can license any song in the library hassle-free. 2351a5e196