The Secret To Writing Music for Libraries! Social Media WEBSITE: www.marlongibbons.com / marlongibbonscomposer TWITTER: / marlon_musician INSTAGRAM: / marlon_gibbons
ok man...that's 2 vids so far and I am very impressed with your sense of mood with music, you are able to convey it very well. I was sitting here watching this and hearing every emotional aspect you described verbally in the music, as well as how good you are at allowing it to breathe....your examples are great and very practical...again thanks for the video
Great video! I have fallen into the trap of over-complicating my music for libraries. You have given me some good ideas on creating simpler soundscapes rather than full-on compositions, which will probably help me increase my placement odds. Thanks!
Hey Marlon, I've made many Production Music Tracks.. Now working on my first TV Lib Stuff.. what's interesting is, that TV shows need much less in the tracks.. it's a distraction if I do a full production. Thank you for your input! Good luck to you!
I agree that TV shows use scaled back versions in placement, far more than the full versions, you are correct. That's been my experience, too. However, rather than send them (The Library) only a "scaled back" version, send them a bunch of stems, to best increase your chances, then they can piece together your track, to the scale of their liking. Besides, perhaps another client may like the "full version". Stems, reduced, cut-downs, alt-mixes.. providing these puts you ahead of the competition. Thanks for watching and taking the time to comment, Dominik.
You should be charging for this information ahaha. Good information, I’ve been looking for more detailed information about music in tv and you gave me a good idea of what is typically done.
Hey, thanks for checking out the channel. Every channel has a "thing".. mine is that I just want to help other aspiring producers and composers, without asking anything in return. No collecting emails or info, no redirecting to other sites. Just paying it forward. Glad you found value in the info. Cheers.
@@MarlonGibbons I really appreciate this. I'm starting this ( again ) a bit later in life , but being a bit older and experiencing life , I'm hoping to use that to create my sound. Want to make this something that will help supplement taking care of my family in the near future so thank you for all of your info. #reapthemusic
Hi Marlon, You talk about allowing the tracks to be cut into 30sec lengths etc. Do you purposely set your BPM to a standard tempo to allow for the 30sec timeframes? I suppose basically do you use tempos that will fit neatly into 30, 60 and 90 mins cues? I hope that's clear. Great channel by the way.
Hey Peter! Great question, I do get what you're asking. I don't choose tempo with the short edits in mind. It's more important to choose the tempo to support the mood and genera you're going for. While, yes this can make getting those 15's 30's..etc. more challenging..It's more of an issue to have a track that doesn't flow well, in which case it wouldn't matter if you're cut-downs were spot on. Hope that helps and thanks for watching! Much appreciated. -M
Thanks, this is great. Quick question, if you were to flesh out all of these songs, would you submit them to a library just in one genre with different moods? Or aim for one style of mood in different genres?
Hey Brodie, most often I write to mood, more than genera (unless asked). Sometimes it's a mood inside a genera. Further to that, what I recommend doing is, if you have some Music Libraries on your radar, see what shows they are getting placements in.. if there's a couple notable and frequent shows, it's likely they have a relationship with someone on staff. Research the show and see what the most common element is. It could be "genera" based, like...(Car shows, Food shows, Make-over shows) often use Pop/Rock but also use a lot of "emotion" focused tracks. Think "builds, anticipation, surprise, disapointment, joy...etc." Those are what describe a scene more over a genera. Sorry for the book, hope some of it helped.
Hey Jesse! Thanks, and great question.. Production Music is a bit different than traditional songs, both in structure and length.. Production Music cues usually are no less than 2min, but not typically over 3. Always exceptions to the rule, but that's generally speaking.
Makes sense. Thanks, Marlon. Do you typically make alt-mixes of varying lengths, or simply make 1 long (say, 3 minute) version up front to err on the side of caution? I suppose one could do longer or shorter versions upon request. Thoughts?
Jesse Miller no worries! Most of the time, yes. I do my own Mastering. Sometimes the client/agency wants to apply that final touch. Side note: when I say "Master" I don't mean proper mastering, that's a true art form in itself. I just get the tracks hot and sounding tight using the tools and ears I have.
Ah, yes... the art of proper mastering still alludes me. Been using TRacks and now Ozone 7 for a while. And just to clarify, you "master" the stems as well as the full mix, or do you leave the stems "un-mastered"? Thanks! :)
Yep, the stems get the same treatment. Mostly due to whatever I have on the Master Buss. (I don't create a separate session for mastering) I just put what's needed on the Master buss in the session (Comp, Limiter, Hi-Pass..etc). I do use Ozone 7, too. So therefore, the stems are treated the same as the stereo full-mix file. Make sense?
Marlon, I hear from others they have had better distribution of their songs by going with Non-Exclusive Libraries. What do you think? Also, Soundcloud? I like the convenience of them giving separate links for each song. Yet, there seems to be some controversy in general as to whether Soundcloud has lost relevance. What do you think?
Hey J. Griff Griffin, this is a great question. In fact, I’ve heard the same. Yes, many have had success spreading their tracks out there (it’s a numbers game). The last few years, it’s been my personal choice to only do exclusive. However…. Many Libraries now, will offer both exclusive agreements and non-exclusive agreements, leaving it up to you. I think there’s pro’s and con’s to both. I’ve been told it’s a great selling feature, for Libraries to promote their tracks as exclusive, as in, not in a bunch of other Libraries. I make the assumption this has to do with building trust and wanting loyalty from their users. I can’t see anything wrong non-exclusive if both parties agree to it. I don’t feel I’ve suffered lack of distribution being exclusive because the companies I work with have incredible reach. So in my case it’s quality over quantity (terms of Libraries) that is working for me. Sound Cloud: I’ve heard the arguments. I host a lot of my tracks on the back-end of my website ready to stream. If you’re going to submit to a Library, perhaps ask them if they have a preference. Sorry, I can’t suggest what the current trend for that is.
Do you mean like "sound design" ? I do mention in many of my videos how I use a microphone to capture sound to use in my work. Not sure if that's what you mean.
Thank you so much! Can you tell more about 1) structure 2) arrangement.. what is a structure, intro, A1, B A 2? Do we need to change progressions in a or b? Is it all about just arpeggios and various accompaniment?
I could do an hour long video to answer your questions and maybe I will revisit structure, form, arrangement. But for now, here’s the simply answers.. What I’ve shared in the video(s) is merely my experience, what has worked for me, but not the only way to form a track. And certainly not the only way to have success with placements. I typically start minimally, It could be a riff or melodic theme. After a few bars (4 to 8) add a new layer/sound/instrument. Keep repeating this process, building the track and it’s intensity. You could hand off the melody/theme to other instruments along the way. If you can create dynamics (builds and releases) that’s all the better. So by the end of the tack… it’s much more intense than the beginning (Trailer Music would be a much more exaggerated example of what I’m describing). You can label it A1, B A 2… if that helps you… but by the time you’re done, your track should open with a simple instrument or 2, could even be a rhythm. The track grows along the way with intensity (it doesn’t always take added instruments to do this - there are other ways). Often Libraries (video editors) love edit-friendly tracks. That is… sections where it would be ease to cut, so if you can write in a way that has these, you increase your odds. Home some of this has helped.
Thank you Marlon! So any trailer may be an example.. there will be no substantial change in harmony, just a chord progression with a melody and build up.. got it!
I wrote some music for the opening and closing credits. Funny you ask, Nate (Start Local Producer/Director) will be a featured guess here on the channel in a few videos to come.
it really is comfortable. You can buy a Herman Miller for $500-$1000 or.... my chair at Staples. www.staples.com/Staples-Hyken-Technical-Mesh-Task-Chair-Black/product_990119
What about titling your submissions? For instance, if I have a piece that's foreboding and mysterious, should or could I entitle it, "Foreboding Mystery"? Thanks! I just subscribed and I'm binging on your videos at the moment.
Thanks for tuning into the channel! Hope you find some value. To your question, yes you could. Adding, keep things simple/short and as obviously descriptive as possible (rather, don't be cryptic with your titles). Don't play on spelling, e.g. L8R G8R.. or creative (but incorrect) spelling of words. Mostly, put yourself in the shoes of someone looking for a track, if the title speaks to what you're looking for.. you have a better chance!
@@MarlonGibbons Thank you! Your channel validates some of my intuitions in approaching this field and also steers me away from iffy ideas and actions that I may have otherwise found appropriate. Thanks again!!! Stay healthy✌
Dear Mr. Marlon , thanks you so much for this amazing information on Production Music Writing. Sir kindly advice ,is it really important to enroll in music school & go through a complete degree program .In my country (India) there are many colleges offering 3 years degree program and there are also many institutes which are offering similar curriculum at shorter duration(6 -8 months) . I am a fresher , as I am at a beginner's stage & currently focussing on instrument (keyboard) & music theory. Regards Ankit
I went to school, it taught me the basics/fundamentals. I still use a lot of that today, but... I can tell you that if you're able to mentor with a composer or producer that is successful, or hang in a studio and shadow, you'll learn much more from "doing" and having a Pro give you practical real-world industry advice, rather than a text book.
@@MarlonGibbons Sir for that reason ,I believe the most important thing is to have a strong foundation about music theory. I am already learning through an online school. My primary instrument is key board & I am learning through piano note. com. They have introduced amazing curriculum which includes song writing & composing along with lessons on music theory & many more. As you said Mr. Gibbons "It's a marathon & not a sprint", I believe I am moving at the right direction as I am working on my strong foundation (music theory, chord progressions & drums) . I am following you sir because your information was so accurate & simple to understand. Thanks for your channel , it's a great medium & an eye opener to gain good knowledge about production. Sir if I will have further doubts ,I would get back to you for sure 😀.Regards Ankit
Hey Roland, I get what you're saying but strongly suggest you try to get used to recording to a click-track. There's a million reasons why it's a good idea, but just a couple are... 1. When submitting your tracks to Music Libraries and publishers, they'll often ask for a BPM. Clients also, may want to know the tempo of the track. Groove is very important (we agree) but you can still have groove playing to a click track and in fact, it will produce and even tighter sounding track once you're comfortable with it.
@@MarlonGibbons Makes sense when your selling your music out there. I'll start practicing using the metronome in my Daw. FYI, I don't skip the adds in your videos. Thanks for the tip Marlon.
@@akosirolandr for sure and I hate to discourage anyone from doing what feels right, it's just that there's a practical (beneficial) reasons for using a click track. Thanks for the support and gesture, too. I can't stand ads so I appreciate it.
MarlonGibbons one more question should I claim publishing through BMI if the music library is going to claim that anyway. Will it cause conflict? Thanks for the response.
@@witnessthewrath8061 I can't speak for BMI, but you'd need to be set up as a Publisher (actual business and separate profile than your composer account). Also, It would depend on your agreement with each Library and what the shares are and who gets what rights.
Oh when the saints go marching in oh when the saints go marching in oh when the saints go marching in oh when the saints go marching in (go marching in go marching in)
Yes, all the time. Often, producers/composers will focus on a specific genera or style, rather than the emotion the track evokes. Actually, a lot of briefs/requests put out by libraries ask for a style to be emulated rather than an emotion depicted.
They are legit. They've been around longer than most. Some composers do very well with them. It's whether you want to pay to play, though. That's a personal choice.
Hey Charlie, in fact I have done that a while back, however for the most part, I don't control the publishing on most of my tracks. I'll certainly keep that in mind as a future idea when it's possible. Thanks for tuning in.
I'm gonna keep this comment posted and genuinely Thank you, for taking the time. Even if you didn’t find value, I appreciate you sharing your thoughts. I hope you’re well and wish you success.
