Not every brand has the budget for an in-house composer, let alone whatever Lady Gaga charges for a cookie collaboration. Fortunately, you can score (no pun intended) the perfect soundtrack for your next video for free by using free creative commons music.
Video is more important than ever, with TikTok poised to become the most important platform for social media marketing in 2022. And what is a video without sound? Like a burger without fries, it just feels incomplete.
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This is more than just a vibe. TikTok found that 88% of users reported sound is essential to their viewing experience, and that campaigns with sound were more than twice as effective as those without.
SoundCloud is an online music sharing site with more than 175 million users worldwide, and more than 200 million tracks. That number includes a ton of tracks in the public domain, or licensed under Creative Commons. As a bonus, SoundCloud is very easy to navigate and explore.
Like SoundCloud, Bandcamp is a music distribution site for artists to share their work. And though Bandcamp was founded to pay artists for their work, there is a decent number of tracks that are licensed under Creative Commons.
Musopen provides sheet music, recordings, and educational materials for free to the public. They have a focus on classical music, and have recorded and released collections by composers like Beethoven and Chopin.
The Free Music Archive is another great site to explore, with more than 150,000 tracks from independent artists. FMA is a project of Tribe of Noise, a Netherlands-based company focused on supporting independent artists.
CreativeCommons also has a curator profile on FMA, which includes a selection of CC-licensed tracks. However, they only have a small number of tracks on their page, so searching the full collection will yield more results.
The easiest way to explore FreeSound is by entering a keyword in the search bar. From there, you can use the filters on the right-hand side to select the license type you need. From there, you can filter by additional tags.
The Internet Archive is a non-profit that, as the name suggests, archives all kinds of online artifacts: video, music, images, books, and even websites. You might be familiar with one of their initiatives, the endlessly enjoyable Wayback Machine.
Here is a list of places online you can find free royalty-free music. Take note of which social media websites you can use them on by reading the descriptions and policy FAQs of each website. There may also be stipulations of whether you can monetise the content and any conditions of using the tracks. Some artists require that you credit them, which generally means that you can use the music as long as you put the name of the artist in the content description (i.e. music by [insert artist name]).
Ikson creates music that is free to use if credit is given (i.e. add details of the music artist and the track name in the content description). Full details of requirements are available on his website.
Run by Free To Use Music, this YouTube channel shares music that is free to use, even in monetised content, on Instagram and Facebook. Be sure to credit the artist in accordance with their guidelines.
This YouTube channel provides music that can be used on social media as well as on monetised content such as website adverts. If you want to use music featured on this channel, make sure you read the description on the desired track as some require crediting the artist.
Aleksandr Shamaluev is the musician behind this SoundCloud page and he writes background music which you can use on social media. The only stipulation I can spot in his description is that a license is required to monetise content on YouTube. Check out his website for more.
Brought to you by Envato Market, Audio Jungle provides royalty-free music which is downloadable by the track. With millions of songs, soundscapes and sound effects to choose from, you only have to pay for what you use.
If you thought Storyblocks was only for stock video footage and images, think again! You can sign up for a subscription that covers all the music and audio you want, or go the whole hog with stock footage on top.
Promising stress-free licensing, this well-known stock image website hosts curated royalty-free music in this impressive library. Vogue, National Geographic and Billboard are just some of the big names featured among their users.
Social media continues to grow more sophisticated and elaborate as demand grows and competition between social media platforms continues to evolve. As a result, we are seeing music features being integrated in more areas on social media.
15% of internet users in the UK and U.S. actively engaged with TikTok last month; some way below Snapchat, Twitter, Instagram, or Facebook. But while TikTok may currently have fewer engaged users, it still offers valuable lessons about what might come next for social media.
In recent years, our data has shown using social media to share personal updates and to connect with friends has become less important to internet users. Using it to find entertainment is now more of a priority. We see the evidence for that in the responses TikTok users give for why they enjoy using the service.
TikTok distinguishes itself in its array of tools, effects, filters, as well as its ease in matching audio to video. It empowers its users to become content creators, and keeps creation within the walls of the app.
Facebook has come up with a number of approaches to try and confront TikTok, including a Lip Sync feature on Facebook Live and a new spin-off app called Lasso. But with its sizable pre-existing user base, the introduction of music stickers to Instagram Stories is perhaps the most intriguing move.
When Trent Reznor was originally asked by director David Fincher to score The Social Network, he initially declined, partly due to just finishing up a long touring and recording schedule.[5][6] After further reflecting, Reznor apologized and told Fincher to keep him in consideration, to which he told Reznor that he had been waiting for him to accept.
I was planning on taking some time off after the continual waves of touring that ended last fall and spend this year experimenting around with what would become How to Destroy Angels and some new NIN. Well, that plan didn't work out so well. David Fincher started inquiring about my interest in scoring his upcoming film, The Social Network. Yeah, the movie about the founding of Facebook. I've always loved David's work but quite honestly I wondered what would draw him to tell that story. When I actually read the script and realized what he was up to, I said goodbye to that free time I had planned. Atticus Ross and I have been on a creative roll so I asked him if he wanted to work on this with me and we signed on.
Months later, I'm happy to tell you we're nearing the completion of this and I couldn't be happier with how it's turned out. The level of excellence that David operates on is inspiring and the entire process has been challenging and truly enjoyable.
As Atticus and I near the end of the scoring process, we're looking forward to the next phase - distilling the large amount of music we've written for this down to a satisfying record (or two). The film opens Oct 1 in the US with the record likely available a couple of weeks ahead of that.
The idea of recording "In the Hall of the Mountain King" came from a scene at the Henley Royal Regatta and trying to find a song that would match up with its Edwardian era garden party theme. Fincher told them to try a Wendy Carlos version of it, which Reznor admits "threw [him] for a loop" and says it took four weeks to work on.[8]
The album's art was created by Nine Inch Nails' creative director Rob Sheridan, based upon the designs used to promote the film, mixed with Sheridan's style of image distortion. He explained the ideas, techniques and methods that made up the compositions that were used for the physical release:
For The Social Network soundtrack art, my goal was to walk the line between representing the film and creating something that stood as a piece of art on its own, much as the soundtrack itself does.
For the cover, I needed to represent the branding of the film, but neither Trent nor I wanted the photo of Jesse Eisenberg to be the cover as directly as it was in the film's poster. By blurring out the photo and placing the title text over Eisenberg's eyes, I was able to create a cover that evoked the film's branding while distancing itself from it at the same time. The style of fonts used in the film and its marketing were something Trent and I both really liked, so we preserved that for the soundtrack.
For the internal art, Sony gave me a batch of publicity stills from the film to utilize if I wanted. By their nature none of them were particularly artistic, and I wasn't sure how useful they'd be for the artwork. Trent expressed an interest in creating a package that could stand on its own whether or not listeners had seen the film. Given that we conceded a bit on the album cover, he said "let's make the inside packaging weird."
An early idea I had was to digitally corrupt the images we had from the film, combining a "glitch art" visual aesthetic I've always been interested in with a metaphor for digital images shared on Facebook, the corruption they're susceptible to, and the corruption portrayed in the film. This idea resonated with Trent, so I began experimenting with different ways to destroy the publicity stills Sony had sent me.
Whereas in previous projects (especially With Teeth and Year Zero) I'd used careful manual processes to create digital glitches, this time I actually destroyed images by opening them up in a text editor and adding/removing text to their raw code.
It was a very experimental, trial-and-error process - I tried different file types, different rendering methods (for example, damaged Photoshop files render much more interestingly in OSX's Preview than in Photoshop itself), and different types of text injected into the image files (I grabbed random paragraphs of text from around the web - ridiculous fan-fiction sites were a fun source). These images were distorted through manual editing of the image files in a text editor, not through intricate Photoshop work. 152ee80cbc
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