![]() ![]() This is a convenient solution for media producers-they can license any piece of music in the library at a reasonable rate. This is because the composers create all the music used in the libraries on a work-for-hire basis. Thus, they can license it without the composer’s permission (as is necessary for licensing music from standard publishers). Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, production music libraries own all of the copyrights of their music. It is rare to hear extensive use of library music in high-budget projects. Consequently, the music does not match the action in the project as much as customized music will. On the other hand, the disadvantage is that the music is not composed explicitly for the particular project it’s synchronized with. The licensing fees are reasonable because they are nonexclusive. This means that the buyer is to use the music in audio and/or visual projects, and they cannot use it without negotiating a synchronization fee. The licenses are generally issued as synchronization licenses. It enhances visual and audio productions, such as television programs, television and radio commercials, documentaries, training videos, and additional multimedia formats. Music producers individually compose and arrange this type of music for licensing on a nonexclusive basis. ![]() Often, production music libraries produce and own the music. Production music (also known as stock music or library music) is music that can be licensed to buyers for use in film, television, radio, and other media. ![]()
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