When you’re highly productive, all kinds of magic happens. You’ll have a better chance of stumbling on a hit album concept. You’ll work with more publishers, and so find ever-better working relationships. Publishers will get to know you and your style and come back to you for more. You’ll have more tracks earning royalties, and you’ll have a good chance of some of your tracks hitting the big time such as a placement on a big ad, theme tune or major movie trailer.
Writing fast can also add fluidity to the music, helping it flow together instead of sounding like separate disconnected parts. I’m not talking about cutting corners to achieve a high track count, I’m suggesting that you write quickly while inspired, under the steadying hand of efficient working methods. Producing a lot of dashed-off garbage won’t impress anyone.
We work with production companies, producers, online editors, music supervisors, advertising agencies, etc, literally all end users of library music. Usable music is music that is suitable for end use on TV promos, dramas, documentaries, movie trailers and advertising because it is in the right style, captures a mood well, and is in a popular genre. Being professional means being positive, eager, honest, following instructions, doing your research, taking criticism well and sticking to deadlines.
How to be a good library music writer: someone who does his or her job well, by making a lot of good music that video editors use, and keeps publishers coming back for more by being good and nice to work with. Those who do their job well have long, successful careers and make a good income, while those who do it badly get spat out of the system by publishers who don’t want them back, so if you want to succeed in the library world, you’ll need to figure out how to be good at it.
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