![]() I think my experience in working with real producers and doing custom music has permeated my sense of how to describe things. You can’t write 20 pieces of music, submit it to Audiomicro, and then complain about your lack of revenue. Do that for your own compositions, but not for production library use. You can’t spend three days on two minutes of music. ![]() It is a biz for people who write well and efficiently without a lot of torment. A little thought and common sense can go a long way to getting your cues picked by producers. Search is key to making the most of these platforms, and that means you need to understand how to communicate what your cue’s all about in a few short words, tags, and other features. Like many dedicated production composers, I write all the time, as much as I can. Revenue from libraries now makes up 60% of my yearly income. It started out as a way to fill my time, to keep writing for fun between scoring gigs. I’ve been working as a composer for much longer, but ten years ago, I started uploading cues to libraries like Audiomicro, which has become one of my favorites. ![]() A great deal of music scoring used to be custom work for hire, but that’s changing as projects face ever tighter timelines and budgets–and as more and more people and organizations are creating video content, production music becomes an increasingly attractive option. Production music libraries have become the go-to music tool for many producers and music teams looking for the right music to match their picture. Finders, Keepers: How to get your production music into the right hands via music libraries ![]()
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