Production music, often perceived as lacking glamour, holds the potential for substantial financial rewards. This guide, drawing on the expertise of Dan Graham, delves into the world of library music, offering a roadmap for composers seeking to establish a successful career.
Dan Graham, known for his work with Gothic Instruments (Dronar series) and as the writer of over 20 library music albums, shares his 13 years of industry experience. He provides insights into the workings of library music, offering guidance on how composers can secure a stable income, whether full-time or part-time. This article aims to expand the knowledge of both aspiring and established library composers, inspiring them to explore new avenues.
What is Library Music?
Library music, also known as “production music,” is crafted for video professionals involved in TV shows, movie trailers, advertising, and various other projects. Unlike scores written for specific visuals, library music is composed around inspiring album concepts, distributed globally for diverse applications. Dan Graham points out the unpredictable nature of success, mentioning how a five-second boom sound in a French Polynesian news theme became his highest-earning track, surpassing more artistic endeavors.
The history of library music dates back to 1927 with De Wolfe, a British company producing 78rpm albums for radio. Major labels dominated the industry until around 2000. However, advancements in recording technology and the increasing demand for video content have democratized the field, leading to more composers, publishers, and end-users. Online platforms have become the primary access point for millions of video creators seeking high-quality music.
The Allure of Library Music
While library music might not bring fame, it offers financial opportunities. Dedicating six to eight years to writing 50+ high-quality tracks annually for reputable labels can potentially generate a royalty income exceeding £100,000 per year, continuing even after ceasing active composition. Even as a side project, library music can provide a steady income stream or serve as a stepping stone toward a full-time composing career.
Compared to other music industry roles, library music is more accessible and offers greater stability. It often provides more creative freedom than composing film or TV scores with demanding directors. It arguably offers more freedom than being in a band navigating conflicting demands from managers, labels, bandmates, and fans.
Challenges include securing work, selecting appropriate companies, producing a substantial volume of quality music, and enduring a potential three-year delay before receiving payments, which can lead to doubt. This series aims to address these challenges.
Dan Graham’s Journey into Library Music
Currently, Dan Graham manages six library music labels in the UK, producing music for Hollywood movie trailers, TV, and advertising worldwide, including contributions to a Star Wars: Rogue One trailer.
In 2004, facing unemployment after his band was dropped by their label, Dan Graham explored ways to monetize his music. He sent out thousands of emails with solo piano music to library publishers.
His proactive approach led to placements with a UK library, a royalty-free library, and a Czech library. This required him to create additional albums and led to a humorous situation where he had to conceal the fact he used Steinberg’s The Grand software instead of a real grand piano.
From these initial opportunities, Dan steadily built his career. He secured a modest income from advances, followed by royalties. By 2008, royalties allowed him to afford a holiday. By 2010, having released over 20 albums, he earned over £100,000.
With six years of experience, he started his own movie trailer music company, ‘Gothic Storm’, investing in live strings and choir. Through diligent networking, he established a global agent network, reinvesting earnings into niche labels. Today, he manages six labels with 130 albums and sales offices in the UK and LA.
Why Share This Story?
Dan Graham’s objective is to demonstrate that a dedicated and talented composer and producer can attain a good income and creative freedom through library music. For those seeking career stability or an alternative income stream, library music may offer a solution. This series aims to provide guidance for aspiring composers to achieve success in this industry.
Identifying Promising Opportunities
Earning a substantial income requires identifying quality companies. Some companies offer little return for your music. To find worthwhile opportunities, explore this list of MCPS-registered UK libraries: www.prsformusic.com/users/productionmusic/libraries/pages/default.aspx.
Follow these tips to identify the best labels:
- Start with large companies: Though competitive, these can be lucrative. Examples include EMI Production Music (KPM, Music House, Juce, Ded Good), Universal, Sony/Extreme, Sony/ATV, Bruton, West One Music Group, Warner/Chappell, Audio Network, and BMG Zomba. Be aware that size doesn’t guarantee success, and some smaller companies can also perform well.
- Assess international networks: Label websites usually provide information about agents and offices. Labels with their own worldwide offices are typically larger. Strong international agents (sub-publishers) indicate a successful label. Major labels often represent smaller labels in different territories. Research independent agents such as APM (US), Upright Music (Scandinavia), Nichion Inc (Japan), Media Cube (South Korea), and Beatbox Music and Big Bang & Fuzz (Australia) to discover more labels.
- Seek advice from successful library composers: Many are willing to offer guidance. Find composers on forums, Facebook groups, and at events hosted by organizations like BASCA and PRS.
- Evaluate publisher websites: Examine the quality and quantity of music and the standard of sleeve art. Well-designed sites with great music and impressive placements are a positive sign. However, experienced composers’ advice is more valuable.
- Consider business models: Large libraries often seek exclusive rights to your tracks. While exclusive arrangements can be more beneficial than non-exclusive, royalty-free arrangements, this isn’t always the case. Research different business models and their impact.
Approaching Publishers Effectively
Once you’ve compiled a list of promising companies and prepared exceptional music, it’s crucial to make a strong first impression. Most composers make mistakes in their initial approaches. Here’s how to stand out:
Do:
- Use Google and publisher websites to find a personal email address, and address your emails by name.
- Demonstrate research by referencing their releases, sub-labels, or writers.
- Briefly mention notable clients or achievements to build credibility.
- Be polite, complimentary, concise, and professional.
- Include a streaming link to 10-12 exceptional tracks that align with their catalogue and are professionally mastered.
- If the tracks are not available, explain that they are examples and you’re eager to create new material for them.
Don’t:
- Write lengthy, self-aggrandizing emails or adopt a condescending tone.
- Send bitter replies if rejected.
- Disclose that the music has been rejected elsewhere.
- Attempt humor.
- Send poor-quality music (badly played, written, recorded, mixed, or mastered).
If you receive no response, send a polite reminder every two weeks until you receive a reply. If they decline, politely inquire about the reason, learn from the feedback, and send something new a couple of months later.
The Power of a Finished Album
Submitting a complete album of 12 outstanding tracks unified by a genre or concept aligned with the publisher’s catalogue is ideal. This approach eliminates the publisher’s time and risk in developing an album concept and assures them of your competence.
If multiple companies accept your album, choose one and apologize to the others, expressing your willingness to develop a similar album for them.
How Library Music Generates Revenue
Understanding the revenue streams is crucial.
Numerous factors influence potential earnings: the clarity of the album concept, the quality of track titles, the company’s reputation, their sales and marketing efforts, the strength of their international agent network, the quality of metadata, track placement, the state of the global economy, genre demand, luck, the state of the industry, the company’s business model, and the terms of your deal.
While these factors are unpredictable, consistent high-quality work for reputable companies will lead to predictable earnings. Expect an average of £5000 per year per album in combined broadcast (PRS) and sync/mech income, peaking in three years and declining after ten years, totaling £50,000 per album. Creating 20 such albums could potentially generate £1 million.
Payment Timelines
Payment for library music can be delayed. The “three-year rule” signifies the typical wait time for income to filter through the international royalty system, with delays at various stages: publisher hold times, sub-publisher delays, slow registration, client delays, cue sheet delays, broadcast delays, foreign sub-publisher delays, and performing rights organizations delays.
The benefits of this delay are long-term earnings and the attrition of impatient competitors.
Revenue Sources Explained
Similar to commercial music, there are two primary revenue sources: synchronization/mechanical income and performance (broadcast) income. Synchronization/mechanical income is generated when a video producer licenses your music. Performance (broadcast) income is paid when your track is broadcast on TV. Your publisher typically pays your share of sync/mech income twice yearly, while PRS pays you four times a year.
The proportion of each income stream depends on factors like music type and publishing deal. Performance income typically equals sync/mech income if you have a 50-percent split.
Additional income sources include advances and buyout fees. Working with a company that offers a small share of sync/mech income can be worthwhile if they provide excellent performance income.
Potential Pitfalls
While library music offers advantages, it’s not suitable for everyone. You need exceptional music to earn continued work from publishers. Even successful composers face rejections. Creating a vast amount of quality music takes years of effort, requiring alternative income or willingness to work in poverty, and a positive attitude despite potential setbacks.
The fact that it’s not for everyone means fewer competitors and more opportunities for talented composers.
This series will continue exploring business models, deals, and the international landscape.
Library Music: The Slow-Burn Path to Success
- Compile 10-12 outstanding tracks and host them on a streaming service.
- Research and contact top companies with personalized emails.
- Produce four albums of approximately 12 tracks each year.
- Anticipate initial earnings after three years.
- After a decade, grapple with the challenges of wealth.
Words of Encouragement
“Writing library music allows me to work from home and watch my daughter grow, which is something many music professionals sacrifice. I can live wherever I choose. After so much time spent pursuing other music career paths, I feel like I’ve found a dream situation.” Ehren Ebbage (Vanacore, Warner/Chappell, Marmoset Music)
“Every new brief brings with it an extension of new skills. Even after writing many tracks I still feel the excitement when I receive the live string parts back from the recording studio.” Marie-Anne Fischer (Library Of The Human Soul, Gothic Storm, Synctracks)
“I find with production music I have greater creative freedom to write exactly the kind of music which inspires me. The royalties that come through do eventually become a sustainable income.” Clive Lukover (Sony/ATV, Intervox, No Sheet Music)
“Doing library music early in your career is a fantastic way to commit to output a lot of music, which is the best way to hone your skills.” Mike Rubino (X-Ray Dog)
Mike Rubino
“Learning to immerse yourself in a brief or a concept for an album is hugely helpful for creativity.” Kyle Kniceley (Gothic Storm, Position Music, Dos Brains, Theta Sound Music, Cypher TM)
“As well as a stream of regular income and a series of fresh, interesting and challenging briefs, library music has given me the opportunity to work with some fantastic people — to collaborate on writing and production, provide employment for session-musician friends, and even record several times a year with 40-50 piece orchestras across Europe. Being nominated for a Production Music Award this year was an unexpected bonus, and that led to me making many new friends and commissions for several companies I hadn’t worked for before.” Jamie Salisbury (EMI/Cavendish, KPM, Library Of The Human Soul)
“I didn’t believe I could earn a credible income from library music until my first four-figure PRS statement. More inspired than ever to continue my pace of writing 40-50 tracks a year.” Oliver Sadie (Library Of The Human Soul, Gothic Storm)
“Library is hard work and can take years to get rolling, but in the long play it’s a great way for a composer to build a solid foundation of copyrighted works. If well written and signed to the right publisher/library, these tracks should go on to earn you an income over their life of copyright, which should be a minimum of 20 years. Whilst your work is out there earning for you, you are free to focus on other things… Like, for instance, taking over the world with your new robot army!” AudioAndroid (various major publishers)
“Just have patience, lots and lots of patience. I think it’s the most important thing, and it also helps you to not give up too early! Otherwise, writing library music is really great, diverse and also offers some creative musical freedom! It can also help switch a career pathway entirely, as it did in my case going from playing in bands to making a living from writing music.” Gabriel Brosteanu (Library Of The Human Soul)
All About Library Music: Part 1 Getting Started
All About Library Music: Part 2 The Business
All About Library Music: Part 3 The Composer
All About Library Music: Part 4 The Client
