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by Michael Laskow
Dear Passengers,
I must be striking a chord with all this Film and TV stuff, because I'm getting more e-mails about this series than anything I've written during the last 14 years. I'm glad you're getting so much out of it.
I promised to tell you all about Production Music Libraries, so here goes.
I took a 6-year break from making records during the mid '80s. I did audio post-production at two of the top studios in the U.S., and worked with top-shelf clients every day. Ninety-five percent of them had something in common – they used music libraries.
Here's how it works: a client comes in to mix a TV show, let's say it's CBS sports, and they've got a ninety-minute show edited, but in need of sound.
The first thing they do is add the voice-over. Typically, the announcer sits in the studio, watches the show on a TV monitor, and reads from a script while trying to hit certain scene changes or other "marks."
After the voice-over is done, the producer or director would often turn to me and say, "Okay, we've got 48 music cues on the cue sheet, and I've got 21 pieces of music already selected and in my briefcase. Let's lay those into the show, and then find music for the other cues."
Once we placed the producer's 21 pieces into the show, he would turn to me and say something like, "Here's what I need for the other 27 tracks: 4 hard rock tracks that are guitar heavy, and Van Halen-esque; 11 pieces that are acoustic guitar based and mellow; 5 that are solo Jazz piano-based, two of which need to be up-tempo – the others can be slower. And finally, I'll need a big orchestral track that's anthemic and victorious sounding."
I'd go to my trusty catalog that had listings of all 13 music libraries (hundreds of discs and tapes) on the shelf near my control room, and start searching. Now, it's all done with computers and digital music, but the process remains largely the same.
I'd play a track I picked against the first cue, and the director would shake his head. I'd play a second, then a third, but no dice. Finally, on the fourth track, I'd get a nod from Mr. Big. I'd make a note of which track I used, and move on.
This process happens thousands of times per day in edit rooms and control rooms all over the world. Even TV shows and films that are scored still have some need for library music. Watch the credits on any major film, and you'll see tracks that are credited to music libraries.
If the producer picks your track, the library gets paid, and eventually, you get paid – typically in the form of a performance check that comes months later from ASCAP, BMI, or SESAC, depending who you're affiliated with.
Libraries come in all shapes and sizes. Some have been around for a long time, and are huge. Others may be new, small, and boutique-ish. The larger ones have their music on the shelves of hundreds of post houses, while the smaller ones might attract clients because they specialize in one type of music.
Your goal is to get your music into as many of these libraries as possible. And I MEAN as MANY as possible!
We sometimes get ticked-off members who sign deals on a couple of their songs with a library, and then don't hear anything from TAXI or the library for a few months. They get cranky and don't renew their memberships. Silly them! ;-)
What they don't know is that it may take a year or more before those songs get used. Maybe never! And that's why your ultimate goal should be to get HUNDREDS of your songs signed to as many libraries as you can. It's like placing bets all around the roulette wheel, and it only costs your time and talent – always a good investment.
And this brings me back to something I said a couple of issues back. This isn't brain surgery. Often times, a simple track with just an instrument or two is just what the doctor ordered. If you can make big, fat orchestral tracks, great! But you don't NEED to be able to do that to succeed at this.
I think it's much more important to do a LOT of simple, yet high-quality tracks. It's a numbers game, and that's how I'm going to help you turn this into a really nice living for yourself. Read those last two sentences a couple more times to make sure they sink in!
I'm talking about tracks that are SO simple that you can bang out a few per day on your 8-track or computer. I'm SERIOUS, you guys.
I know it's nearly a reflex with many musicians to want to keep adding to and "perfecting" your music, but that is probably what's standing between you and earning a great living. I can hear you saying, "Yeah, but won't the producer choosing the tracks pick the one that sounds the "most produced"?
Noooooo!!!
He or she will pick the one that has the right "vibe" or texture – the one that FEELS right and strikes the right emotional chord. Will they care that the cello part that rides under the viola does a neat little counter part? NO! Hell, most of them don't even know what a cello IS!
They put very little thought into choosing the music, especially when it's instrumental. It's all about the feel and emotion. Have I said that enough? ;-)
I'm dying to tell you about the types of deals libraries offer, but I've already written nearly 1,200 words. So, tell you what. I'll give you the 411 on the deals next week, if you'll promise to record at least one new track per day until then, and keep them simple! Deal? Cool.
And as a parting thought, please remember, you CAN do this.
Talk to you next week,
Michael
 Read Part Six
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"I have spent my life playing and singing in bands and this is the most real thing I have ever seen."
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— Dwight Nichols,
TAXI Member
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"Thanks to TAXI I no longer have a day job! The membership fee was a drop in the bucket compared to what I have earned because of TAXI."
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— George Nelson,
TAXI Member
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"Thanks for your constant support of my work — I'm running out of compliments for you guys!"
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— James Day,
TAXI Member
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"I think I'm lucky that I've found out about TAXI so early in my career."
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— Djamel,
TAXI Member
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"I met so many great people on personal and business levels, including a contact who is going to get our disc in the hands of the producer of Dawson's Creek."
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— Dean Person,
TAXI Member
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"I've been to tons of music seminars put on by reputable companies. None of them have ever come close to the Road Rally."
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— Stuart Ridgway,
TAXI Member |
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