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How to get YOUR MUSIC played on TV

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My three best tips for writing library tracks that editors choose, get placements, and earn royalties.
💰 How I Make Money Writing Music in 2021 • How I Make Money Writi...
I earn a full time living from production music and have had placements in thousands of TV episodes, including for hit shows like American Idol, Dancing with the Stars, and The Bachelor.
After the tips I do a walkthrough of the Logic session for one of my recent tracks that has been doing well lately so you can hear and see how it's made.
🎹 MIDI files of the examples in this video are available on my Patreon! / ryanleach
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15 авг 2024

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Комментарии : 58

@RyanLeach 2 года назад

💰How I Make Money Writing Music in 2021 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-bQS6RPFXb3Y.html

@braethebrave1569 2 года назад

Thank you thank you thank you, this is incredibly helpful! Just found your channel, and as someone who is about to go to college for music composition, your tips and knowledge is incredibly helpful!

@Markrspooner 2 года назад

Some great advice and run through of your track Ryan.

@RyanLeach 2 года назад

Thanks!

@Jonas_Fridh 2 года назад

Thank You, Ryan! Keep up the good work. I write for libraries, too, and I find Your video very useful! Great stuff!

@pacernesto 2 года назад

Which library companies would you recommend to submit your music to?

@unexpected8166 2 года назад

I had no idea there was a way other than being John Willams, great video!

@jknock148 2 года назад

Hey Ryan, great video as usual! I was wondering if you could delve into reliable ways to reach these libraries (for someone with experience but no placements) Thanks!

@tttgrosser 2 года назад

Hi Ryan, thank you for sharing this. I'm really curious ... how many of such songs are actually out there in music libraries? If I'd have to guess, you must have like 500 of such pieces out there on different libraries (at least). Sounds reasonable when you were doing that for a decade and keep producing like 50 pieces per year. Man, now I think you might even have even more than 500 pieces out there ... Keep it up, I enjoy your videos ... maybe for a future video, I'd like to see how you work together with different music libraries and how you apply for them.

@RyanLeach 2 года назад

That actually a really tough question. I have over 3500 tracks registered on ASCAP, but a fair amount of those are film cues or re-titles (aka same track but with different publishers). I have a folder of tracks that are "non exclusive", so if a new library comes along and wants to use things other people also have access to, they can have those. There's 400+ tracks in there. But there's also PLENTY of exclusive tracks. So maybe 1-2k?

@deanpelley-musicalartist9209 2 года назад

Just found your channel this past weekend and I am already half way through all your vids. Excellent educational content. Thank you and look forward to more!

@raymondspagnuolo8222 Год назад

Very helpful! Thanks so much for posting!

@nathanmarshallmusic 2 года назад

Great advice! Thank you so much for all your help.

@maxtofone 2 года назад

Thanks a lot Ryan for this video with great and really useful advices... Kind regards and blessings, Max

@musiceclipse Год назад

I would like to see some information on how to find libraries to submit files to.

@musicjst 2 года назад

mannn this is incredibly helpful, thank you once again

@Tylervrooman 2 года назад

Thanks! Im very interested in this! I have an interesting body of work already. Thanks for the great content! (A lot of it available on spotify already too... not all, some are also available on my channel. ) take care! Looking forward to digging into your channel

@alleyway3215 Год назад

This is notably helpful.

@FrankiePhoenix 2 года назад

So I have a question about instrumentation for music submitted to the libraries. Obviously an editor would want the whole score to be uniform sounding. Does this leave you limited to certain ensembles/patches that you write for? I'm sure the more experimental the sound is, the less likely it is to be picked.

@RyanLeach 2 года назад

I would think about the assumption of an editor worrying about uniform sound. It really depends on the production, but if it's a reality show or something (where a ton of my placements come from) then they'll use something with strings if it's appropriately sad, and a country band if it's appropriately happy for what they need. You are right though, an unusual or experimental sound, especially if it's a featured instrument, is going to limit the "usefulness" of a track.

@onthestrings Год назад

So how do you get started with these companies and getting your music into these libraries? This is exactly what I would like to do! But obviously if it takes time, I would want to get started now. Thanks!

@GuSan1982 2 года назад

Thank you!

@RyanLeach 2 года назад

No worries!

@AndreaMoonMusic 9 месяцев назад

thanks for this great video. i've attempted several times to get my music on libraries and have no success. Are there any companies you recommend?

@DootBear 2 года назад

When you were working on making library music tracks, how many did you try to make per day? What do you think is a good goal?

@johnnynoirman 2 года назад

What music programs do you use Ryan? I think that discussion would make a good RU-vid-Video too.

@mavaction 2 года назад

What virtual instruments do you use for acoustic instruments? In particular for orchestra instruments?

@RyanLeach 2 года назад

Lately I’ve been using Spitfire Symphonic libraries although I still use Cinematic Studio Strings regularly.

@vito015 2 года назад

Hey Ryan! Great video once again! I have a question though, when you work these kind of arrangements for TV spots, do you register each one of them to own the copyrights? Or is it only necessary to register them for royalties? How is this process?

@RyanLeach 2 года назад

The library company handles that entire side of it. I just deliver the music!

@noble_rosethorn 2 года назад

@@RyanLeach but do you register to your PRO yourself or the company does that too?

@RyanLeach 2 года назад

Company does that too. The only exception would be if I wrote some tracks for myself and I didn’t know what to do with them yet, but almost always I write tracks based on a specific request like “we need 5 tense cues”.

@jaikumarsivalingam 2 года назад

Hey Ryan, Thanks for the video. Are those time signature changes for the breaks? 5/4 - ending with a 1 beat silence and 6/4 - ending with 2 beats silence? I have been struggling to write more production music, this video is extremely helpful! Thanks again!

@RyanLeach 2 года назад

Yes exactly, they are to create very easy to edit breaks in case they don’t want a whole section

@wrightonrice 2 года назад

I happened upon your videos looking to get into sync music. I write more electronic music (non classical, not EDM). Do you have any tips or videos for that? What's your mindset when choosing which libraries to submit to? Thanks!

@gelladulaaccolades Год назад

Do you arrange church orchestra music?

@doomboogie315 2 года назад

Hello, Ryan - I had a question about Royalities and companies like ASCAP/BMI. so I'm currently selling tracks, but not sure when I should sign up for one of these companies? is there a time where you suggest to hop on board. Maybe sooner than later or when track sales start scaling up? not sure if that makes sense, but ty for the time and video!

@rayphenicie7344 Год назад

What's a bounce? A copy of one track to another track?

@RyanLeach Год назад

Exporting the final audio file

@randalloelerich2519 2 года назад

Ryan, when you put your library tracks on sites such as CrucialMusic/other, do you name them with a description of the music (Thriller cue #5) or do you name them with a track title (Into the Abyss) like you might use if putting them simultaneously as an album on e.g. Spotify? Which is best in your opinion for getting library music noticed by music editors?

@RyanLeach 2 года назад

I don't really put my tracks on sites anymore (I used to use AudioJungle but I barely make anything). Libraries come to me when they have a show or genre they need to fill. If possible spend your time trying to get in with libraries that have relationships with production. Find shows that have music similar to what you write and see if you can find out who supplies their music, then reach out and explain that you're writing because your style matches what they need to supply.

@randalloelerich2519 2 года назад

Ryan, what length of library music would you say has the best chance of getting picked up by a music editor, all things equal--- 1 min, 2 min, or 3 min?

@RyanLeach 2 года назад

I guess a longer track with more flexibility I guess? So you can keep a pretty even vibe for extended periods. The context matters. For reality TV you need a track that builds in intensity and suspense, for video production I prefer a track that keeps the same vibe the whole time.

@jaijeffcom 9 месяцев назад

Great video. Got a question about flexibility of editing. You mentioned alternate stems. For your submissions, it sounds like a single piece consists of a collection of stems, giving an editor freedom to compile them in a variety of arrangements as you suggest in the video. Is that correct? I'm producing stock music clips now. With each clip being a single stand-alone recording, the editing flexibility is reduced. I can release multiple versions of various lengths myself, but if there is reverb bleeding into a rest the editing flexibility would be less than you would get with a bundle of stems. At least, this is what I infer from watching. Is there such a distinction between sync and stock, i.e. bundles of editable stems vs. multiple stand-alone versions?

@RyanLeach 9 месяцев назад

I don't really think about the stems when I'm writing, I just output different variations when I'm done. "No strings" or "no percussion" for example.

@jaijeffcom 9 месяцев назад

@@RyanLeach Thanks, Ryan. I guess I'm asking about the way editors purchase a clip. For your market, do they get all of your versions as a bundle, or is it like stock licensing in which they would have to find those versions and buy the ones they want a la carte? The question occurred to me because you suggested that editors swap around sections of your clips. It seems like that would be unwieldy given a final mix of a track which could have reverb or transitions at those presumed resting edit points. On the other hand, if the reverb were on its own stem and the editor had other stems too, they could cut things up more easily. Is that the idea, or am I overthinking it?

@RyanLeach 9 месяцев назад

@@jaijeffcomYou might be overthinking it. I would never put reverb on a separate stem. Usually a quick cross fade will smooth out any edit. I actually do not work with the editors directly so I can't say for sure, but I believe they get the entire bundle

@jaijeffcom 9 месяцев назад

@@RyanLeach Thanks, Ryan.

@MrKeithterrett Год назад

Ryan as a newbie to Sound Libraries, what Sound Libraries are a good start to submit too for a new writer? Can you submit Sibelius files?

@RyanLeach Год назад

No definitely not. Production value (does it sound “good”?) is incredibly important. If it sounds cheap it will make their project sound cheap and no one wants that. I think the Cinematic Studio libraries are the best mix of price and quality

@mateobezuh2199 2 года назад

Can you submit the same track to multiple music libraries?

@RyanLeach 2 года назад

That depends entirely on the agreement you have with the library. If it's "exclusive" then no, you can't reuse that track anywhere else. If it's "non-exclusive" then yes! There's a gray area called "retitling" in which you can give a library a track and call it "Song A" and give the same track to another library as long as you call it "Song B". I think most companies are moving away from retitling for a number of reasons and you should expect to see exclusive agreements more and more often. I generally don't mind doing an exclusive agreement if I'm getting some upfront fee or if I have a relationship with the library and I know they have been able to get me placements in the past.

@DirkArnez 2 года назад

But nowadays how composers beat free stock BGM?

@thecaptainsnark Год назад

gonna learn how to write music marketed to craft youtubers simply so I don't have to listen to the same song over and over and over.

@jaijeffcom 9 месяцев назад

Ryan, if you have thousands of tracks of your own, why do you bother with Sound Stripe?

@RyanLeach 9 месяцев назад

Several reasons, primarily that most of my tracks are the wrong mood (I’ve written a lot of suspense and tension music which would set the wrong tone in a RU-vid video!)