[This article was written by Jennifer Newman Sharpe, Esq., entertainment lawyer and COO and co-founder of Sparkplug, the sharing economy marketplace where musicians rent their instruments, equipment and place to and by other musicians.] Production music libraries typically offer a wide range of music styles and genres, allowing producers and writers to find what they need in the same library. Music libraries range from a few hundred titles to thousands. The first production music library was created in 1927 by De Wolfe Music with the appearance of sound in the film. The company initially composed music for use in silent film. [2] Ownership of your music is expected by large traditional music libraries and means ownership for the entire life of the copyright (up to 70 years after your death, if the music becomes public). Major library publishers might want to cover most of the more well-known genres with at least one album, but some permanently successful styles include mainstream indie rock, emotional orchestral music, and carefree plinky-plonky ukuleles. (4a) Non-exclusives pay a fee upfront for the membership contract (often referred to as the „TAXI“ template): Not really a music library per se: You pay $250+ per year to be a member of an organization that offers a platform for your music to be verified for different projects. Whenever a project searches for music on the service, this information goes to membership. You send what you think the project needs and pay an additional fee ($5-10) to get your track heard internally. If, at its end, the auditor deems it appropriate to send it to the supervisor (or to anyone else), they do so.
Anyway, you paid in advance to listen to your music. If the superior thinks your room is the right one for the stage, he will contact you directly. In addition to your talents as a composer of superlatives, you can now make yourself a licensing expert or hire a lawyer to check the licensing agreements (best option) and/or take charge of the negotiations and then hunt down the money and the Cue-Sheets themselves. For some of these services, they may also offer a review process where they tell you why they didn`t transmit your composition and recording for the specific tone. This can be useful for the novice composer or songwriter who is still learning what kind of material needs to be stung for which project and how to start it well. Not so much for experienced composers. You own NO part of your work….