Below are my answers to questions I often get asked about music libraries.
If you have a question that’s not answered here, let me know in the comments.
I’ll add it to my list and answer it asap 🙂
How long should my songs be for licensing?
Aim for standard radio edits, i.e. 2:30, 3:30 songs.
Shorter cues are fine as well.
Longer cues tend to scare people off.
Which is weird because songs rarely get played in full anyway!
Do I have to make instrumental versions available?
It’s possible that someone will just fall in love with your song and want to license it as is.
But it’s unlikely. Customers want options. Give them what they want.
What are some of the best music libraries for indie artists?
Ah….. the impossible question 🙂
Unfortunately, there’s no right answer for this….
Libraries that work for some don’t work for others. Libraries that worked for someone in 2019 might not work for them (or at all!) in 2020.
The best advice I can give you is to research and submit your music to as many music libraries as you can and figure out what works for you.
The Music Library Report is also a good resource with library reviews and an active forum of music composers.
The time you spend wondering which library is the best is time you’re not spending making or promoting your music 😉
How much money can I make from licensing my music?
You can make LOADS of money!
Like healthy six-figures.
But you can also make $0.00, and everything in between.
If you focus only on library music, chances are you’re not going to make a fortune.
BUT…. you can still make a LOT of money through music libraries, like this music producer on AudioJungle did:
10,728 sales at a minimum of $29/license amounts to over $311,112.
Sellers keep between 45-87.5% of revenues on AudioJungle so that’s at least $140,000 paid out to the music producer.
For one song.
That might earn more in the future because it’s still available for licensing….
Pretty good, right?!
PRO vs non-PRO
Most music libraries encourage or accept songs that are registered with a PRO.
The track in the example above is registered with BMI.
That means if the song is performed in public, in a TV show for example, the composer will get performance royalties on top of the sync fees collected through AudioJungle.
Even though AudioJungle is a royalty-free music library.
But more on that later….
Am I allowed to have my songs on Spotify if I want to license them?
By default, yes!
Music Distributors Vs Music Libraries
Music distributors make your music available for listening. People can listen to your tracks.
Music libraries make your music available for sync licensing. People can purchase a license to synchronize your tracks in an audio or audiovisual project, like a podcast or a film.
The two are not mutually exclusive.
There are some exceptions….
For example, if you transfer your copyrights to someone else, then that person would control where your music can and cannot be featured and they may decide that it can’t be on Spotify.
Is it ok to have my songs on Spotify if I want to license them or is it a turn-off for music supervisors?
Yes, you can have your songs on Spotify and in music libraries at the same time.
In fact, distributing and licensing your songs at the same time can be mutually beneficial.
Yes, some people might not place your music in their projects because it’s already been released commercially.
However, that would be the exception, not the rule.
Should I work with exclusive or non-exclusive libraries?
It’s a heated debate.
Here’s my take on it….
If you have a large catalogue of music, give both a try and see what works best for you.
If you have a small catalogue of music, focus on non-exclusive libraries.
I don’t deny that there can be problems with non-exclusive libraries.
I just think that there’s a bigger problem with exclusive libraries who sign up songs without paying any advance to the songwriter and often don’t get any placements for those songs.