![]() ![]() ![]() ![]() The pros of commissioned music are that the music is exclusive to the program or film and therefore no-one else has the ability to use that commissioned music score, it is custom made and written specifically from the heart for the intended scene of that production, and is therefore a unique signature to that program or film. Why use production music rather than specifically scored commissioned music?Ĭommissioning music is generally much more expensive, there is the difficulty of getting the music straight away as it takes time to compose, produce and deliver. ‘ ’ (APRA AMCOS Production Music Rate Card 2019). The rates for other mediums such as advertising, corporate video content, gaming and mobile apps are all published in the rate card: For all media clearance, for the world, the rate is set at $702.90 per unit (30 seconds of use). The pay television rate is slightly lower, and the combination of free to air and pay television is $67.10 (national) per unit, $95.70 (Australia and New Zealand) and $359.70 (the world). For Australian and New Zealand territories it’s $57.20, and for world clearance it is set at $ 235.40 per unit (30 seconds of music). An example from the current 2019 Production Music Rate Card for a 30 second usage (one unit) on national free to air television the license fee is $47.30. Locally, under APRA AMCOS jurisdiction, production music rates are reviewed and set annually. 6).ĪPRA AMCOS offers production music licensing for Australia and New Zealand with over hundreds of thousands of production music tracks across all musical styles. Licenses issued cover the right to reproduce both the musical work and the sound recording under one license umbrella. Other performance right organizations (PROs) around the globe and production music agents also offer licensing in their particular territories. If you want to find that strange (different) ingredient which makes modern music modern, futuristic library music isn’t a bad place to look’ (Trunk 2005, p. ‘Library (production music) was intended to extract the mood from all sorts of music, and sometimes it seems to capture the feel of an era better than the music which was actually sold at the time. It is composed, produced and recorded specifically for the synchronization or dubbing in audio and audiovisual productions, which can include but is not limited to advertising campaigns, feature films, documentaries, television series, DVD’S, radio programs, websites, online games, music on hold and ringtones. The music from these catalogues is diverse, and is search user-friendly with the use of creative metadata that aligns to emotional keywords and descriptions, packaged neatly online and covers a multitude of musical styles and genres. Production music libraries are well-curated catalogues of music that provide a high quality and cost effective solution for music licensing. Production music, which was once called stock mood music, cue music, cinema music or library music is an important source for finding a suitable soundtrack to enhance storytelling. Since the early 1900’s with the early silent films, stock music was utilized to provide a desired mood to accompany the message coming from the screen. The majority of people don’t even know it exists as production music is not usually for sale commercially to the general public. These music creatives and their recordings have become embedded in our music culture, but production music does not generally receive any public attention as it flies under the radar. When we think of music composition we usually think of the great classical composers such as Bach, Beethoven, Mozart, or the contemporary writers such as Lennon & McCartney, Dylan, Bacharach, Elton John, or we readily recall the great music scores from those famous feature films and television series that took us on a memorable emotional journey. ![]()
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