Tag Archives: production music

Six Incredibly Useful Royalty Free Music Tracks for Creating Film Soundtracks

Every filmmaker knows that their soundtrack can make or break their entire film. For video production professionals in particular, the quality of the music being used can either lead to dissatisfied clients or to life long customers. Finding the right music for the right moment can be a tricky process. Luckily, royalty free music libraries like Productiontrax can make the search for the right track easy, providing music that covers a wide range of genres and emotional quality, even from the same piece of music. Here are six incredibly versatile pieces of royalty free music that will change the way you use stock music.

1. Sweet, Sweet Success. From motivational corporate videos, to tech advertising, to children’s projects, this piece by Don Swanson could become your next go-to music track whenever you need something light and positive. Evoking feelings of hope and joy, the track gently evolves into a series of sparkling and beautiful sounds, interweaved with a full string ensemble.

2. Dub Step of Terror. This track by Robert Neary escalates and intensifies, gradually building and incorporating elements of traditional dub step with sounds of horror, adventure, and modern drama. Perfect for a wide range of uses from horror to superhero trailers to science fiction to commercials.

3. Pirates – Action Adventure. Whether you need something dramatic for a vacuum cleaner commercial, or you’re actually sailing the high seas, Igge Scoce’s royalty free action adventure music track will help to create the soundscape that sounds like it was created by a film score orchestra, all without the budgetary drain. Also great for video games, and cinematic sequences.

4. Adventurous Beautiful Majesty. From Christian Andersson of Craze Music comes this lush stock music track that is perfect for heroic epiphanies, fantasy titles, video games, documentaries, travel, nature, science, and gentle, lush underscoring.

5. Clocks. Serene, reflective, yet with constant motion, this piece by Adi Goldstein captures the essence of passing time, internal reflection, sadness, and can be used for montages, television dramas, opening titles, and much more.

6. Rays of Happiness. Quiet piano and strings works for anything. We don’t know why — it just does. This production music track by Filip Halon is perfect as a romantic love song, or as the backdrop to a peaceful scene. We think it works great for PSAs and other narrated commercial spots where a little human authenticity is called for.

Expanding Your Production Music Library

Ideas for composers for increasing the number of clips in their music library.

Would you like to have or need more clips of your production music along with a wider range of time lengths and potential applications for your music? Here are some relatively simple and good ideas.

One thing you can do is to use pieces of music that you already have as completed works. Let’s say, for instance, that you have a five minute film score with a spacey ambient string section intro, a main full instrumental chord progression, a catchy melody theme, an energetic driving drum break, and a calm serene melodic interlude. It is not very difficult to have all these related individual sections edited into separate stand alone music clips. If you were to take for example the percussion break, this can easily be edited and turned into two individual clips, one as a percussion phrase with a distinct resolute ending and the other one as a loop.

Production Music EditingAlways remember you must be sure to check that the loop loops seamlessly before making it available for lease. All too often what sounds great in your audio editing software will have noticeable seams when actually looped. These loops can have noticeable clicks, timing errors, artifacts, or dynamic inconsistencies. It is always a good idea to make sure and check the rendered file before making it available for licensing! The same technique holds true for the chord progressions, ambient interludes, and melodies.

Two more benefits of this are:
1) the producer who is licensing your music can now have more options for time lengths and choices for dynamics of the original piece to use in their related project, and

2) you will have many more clips for a wider range of applications even if they are not related to the same end production.

Another way to have more clips can be by using different dynamics for the same passage. For example, one version can have only chord changes, another will have the melody line, and another without any percussion.

And yet another way is to make different time lengths of the same piece. One easy way to do this with MIDI produced tracks is by increasing or decreasing the tempo. For instance, a sixty second track at 60 beats per minute will become a thirty second track at 120 beats per minute. Yes, it will speed up the tempo but it does work for some things like ambient and certain kinds of melodic ambient and can have some interesting results. Of course there is always “copy and paste” too.

Well, I hope these suggestions will help a bit because they have worked for me!

Zoid Proteus “Interstellar Music”
http://www.productiontrax.com/profile.php?id=8215&sentby=13561

Mystery Groove – Stock Music loop for Detective Shows

This week, we dive in to the genre of detective mysteries. Our royalty free music pick of the week is a short little stock music track by Matthew Anklan called Mystery Groove (track ID 387379). Without sounding dated, this production music track features four trumpets and rhythm section, complete with note bends, harmon mutes, and a delightfully funky beat and bass line.

The looped groove is perfect for comedy, mystery, and investigative shows, and immediately gave us images of the Pink Panther, Inspector Gadget, Mr. Monk, Sean Spencer, and other famously wacky television detectives. We combined this track with a stock footage clip ID 74853, which is a shot of a forrest road winding through some pretty dense fog. The video, also available for download at Productiontrax, adds to the mysterious yet almost comical flare of this music track. We think this piece will work equally well as a soundtrack for children’s projects or advertising.

License the audio: http://www.productiontrax.com/royalty-free-music/387379
Get the footage: http://www.productiontrax.com/stock-footage/74853

Production Music and Content ID: The Good, The Bad, The Ugly

With production music venturing more and more into the online space, content ID and musical fingerprinting programs are becoming evermore necessary, evermore prevalent and evermore obtrusive. Fingerprinting and content recognition is vital for combating piracy, but at the same time creates headaches in a crowded and quickly-changing creative field of royalty free music production.

audio fingerprinting
The Good
Content Identification is great for maintaining order in an industry that sees more piracy every day. With the increasing availability of high-end but low-cost audio software, more and more people are expressing their creativity with music more than ever. While accessibility drives innovation in the arts, technological progress oftentimes comes at the expense of time-honored copyright laws. For content owners and the artists who create, content ID programs offer a way to monitor and be properly compensated for your work. Content Identification systems can recognize your music in a video, on a website, or in an app, thereby giving you the opportunity to exercise your right as first exploitation. No matter your distribution and compensation strategy, all artists benefit from knowing who is using their music, and where their music is playing.

The Bad
On Youtube especially, Content ID is soulless. The systems in place do not recognize people, and cannot infer circumstances, nor does the system attempt to try. Some may argue that this is by design — an attempt to leave authoritative control in the hands of the copyright owner. However, without fully grasping common licensing practices, especially in the stock media and production music industries, these content scans are an all-powerful guilty-until-proven-innocent judge and jury. Customers of stock music sites often find themselves harrassed by the YouTube Content ID system for using music that they have properly licensed, oftentimes with threats of closing down the user’s channel. So much for doing things the right way, and ignoring pleas from the licensor, no matter how much authority was granted to them by the original copyright holder, requiring full licenses from the original owner in order to fully satisfy its documentation needs.

Additionally, content identification systems don’t have real ears. While fingerprinting and sonic imaging have come a long way in recent years, true content matching can only be done by a human being — especially when it comes to production music. Think about it: every composer out there is using the same sample libraries as the next guy. OF COURSE THEY ALL MATCH SOMETHING ELSE, it’s because the instruments are identical. Only a human can make the distinction between a fair use of a lick or sample kit, a common harmonic progression, or a loop pack.

youtube content idThe Ugly
The YouTube Content ID system contractually requires the content owners who provide the data to be exclusive rights holders. Yes, exclusive. Read the terms. All of those Ad Rev and Ad Share companies out there? Yeah, they’re all claiming that they own your (the composer) work. Worse, they’re collecting ad revenue on your behalf and chances are, unless you’ve signed a contract with these companies, you’re not seeing a dime. We know of a bunch of music libraries who made deals to provide huge databases of music tracks to these companies without telling you, and without paying you. What winds up happening because of this, in addition to someone else making money off of your hard work who is not you, is that tracks are getting improperly attributed. Confusion abounds as to who really owns what — and usually, to satisfy the DMCA, service providers are forced by the law to turn a blind eye. Some protection.

How Productiontrax Uses Content ID
Productiontrax.com does not submit song data to Content ID programs. We do, however, scan our library against the content identification databases to identify songs, and we match this data to the data provided by our users. Why? We do this for two reasons:

1) To make sure that our clients are properly licensed when they purchase music on Productiontrax.com. Scanning, fingerprinting, and identifying songs uploaded help us to keep the promises we make in the end user license, representing and warranting that we have properly and adequately obtained rights to license all of the work posted to our site. This protects our customers, protects us, and helps protect you.

2) To protect composers. Through content identification, we can spot fraud, illegal uses, and stolen music — not from us, but from you. We can also spot errors in the content identification database, where your music is being attributed to another musician, composer, or fraudster, when in fact, it belongs to you.

Ultimately, Content ID, when used and maintained properly is an excellent tool, and should be used by copyright owners. But for your sake, do it without the middleman.