Want to submit to a Production Music Library? 6 essential tips

Paul Ortiz of Alibi Music shares his professional experiences and opinions on up-and-coming musicians and producers submitting their works to music production libraries.

By Paul Ortiz, Music Director, ALIBI Music

As I start my mornings working through album production, composer submissions and all of the other ‘stuff’ that comes with putting out a library of production music, I often reflect on my own experience of being a musician looking to crack into this part of the industry. I remember how many times I sent my music out into the world only to be dismayed when I got a different response than I was hoping for…or sometimes no response at all. I think of how strange it is to now be on the other side of the fence, realizing – with the benefit of hindsight and experience – what I could have done differently.

My own ‘rejection’ years ago wasn’t so much a reflection on my skill as it was on my understanding of the industry… WHAT production music libraries want to see and hear and HOW they want to receive it.

I see this play out regularly in our submissions inbox: producers getting in touch but neglecting to put their music front and center of their opening pitches, complicated websites, dead links, music that shows promise but just isn’t quite there yet.

My instinct is to help. After all, production music libraries are only as good as our composers. Our success hinges on being able to curate amazing new music, and to see that music out there doing well for all involved. But, as a company that works with 350+ composers and has hundreds of submissions waiting to be reviewed at any given moment, the scarcest resource…is time.

So, to that end, I’ve collected my own thoughts as someone now on the other side of the door I was once looking to bang down. As with most things in life, there are no shortcuts or formulas; no checklist to follow that will guarantee a result. And all libraries are different, so this is far from a definitive guide! But hopefully there’s something in here you didn’t consider that will maximize your chances of getting noticed in this highly competitive, but fun and potentially rewarding industry.

6 Tips

With all of that said, here are six tips you should consider before approaching a production music library with your work:

1.    Learn what makes production music useful. Like any other trade, production music is a professional business loaded with nuances in the way its key players work together — for example, how and what tracks sync well on screen. Sometimes we’ll receive really good music that’s also just too intricate. We’re trying to give our clients tracks they can use, chop up and cut to, which means they must be easily adaptable. Understanding what makes a track useful – the edit points, build/structure, mix, presentation, etc. – is super helpful. One of the best ways to learn is to WATCH A LOT OF TV (yes, you read that right!), whether it be content, ads, trailers, promos or sports, and then listen to a library’s songs. Review the tracks, stems and alt versions. Look at the structure, and you’ll begin to learn what makes it useful to editors. 

2.    Put your music front and center. This is a big one. If you’ve already taken the time to email us, use that opportunity to shine! Rather than asking whether we’d like to listen to your stuff, go ahead and share your music straight away. Don’t waste a valuable email when your message is likely among hundreds in the inbox.

With so many submissions to review, we want to get to your music as quickly as possible, so the easier you make it, the better. A working, ideally direct link to your track(s) is perfect. Literally, just send a Dropbox link coming in hot! No need for websites with fancy sliding frames and hoopla requiring multiple clicks. Double-check any links and let your music speak for itself.

3.    Keep pitches simple, but give us some context. Our biggest goal is to fill our library with fresh, high-quality music, so we’re not as concerned with where you went to school or why you got into this business. We just want great music and an easy way to hear it, so keep the pitches simple.

That said, a little context can go a long way, so see what you can find out about the library you’re pitching and try to work that in. Where do you envision your music being used? What were your references? For instance, it’s more likely to catch our attention when someone says, “I really like that Moody Soul album you released last month. Here’s something I’ve been working on that might be of interest to you.” Or…”This is an uplifting track I wrote with pharmaceutical ads in mind.” Show us how it fills a need.

4.    Double-check the quality of your submission. As a professional trade, one of the first things we look for is production quality, so professionally mixed and mastered demos are really important. We’ll often skip to the middle of the track and listen for a few seconds, after which we can normally tell if the production quality is there. If the quality doesn’t match what we already have in the catalog, we can’t entertain it. Before you send us anything, consider bouncing it off your peers or others in this business with your goals for its use very clear. If it passes their QC tests, give it a go!

5.    Don’t be afraid to follow up, but know when to do it. In the production department of a library working at break-neck speed, it is possible for good pitch to fall through the cracks. We may have had a listen and meant to reach out but simply got sidetracked. A follow-up is not only OK but may also be helpful if done the right way. A good rule of thumb overall is to avoid Friday afternoons and give us at least a week before you check in.

6.    Be open to feedback. You may be one of the most talented composers or artists out there, but if you’re too protective of your “thing” or unwilling to do some constructive finessing, working for a library may not be for you. We look for people who are open to feedback and willing to adapt what they’re doing – their creative approach and beautiful style – but format it in a way that is useful to our clients (see point #1 above) and fits in our catalog.

While producing library music may not have the outward “sex appeal” of the commercial artist career, it can certainly come with its own bragging rights while earning you a decent living. When your track is accepted into a top library, you essentially get your own co-production team working with you on feedback, finessing and mastering before taking on the search data, registrations, sales and marketing that garner exposure. You’ll begin to see it differently when you hear your first song in a major feature film trailer or see those royalty statements roll in.

In the end, a successful submission is all about the music, so use these tips to let your music speak for itself and try to get out of your own way. 

Paul Ortiz is a composer, producer, and sound designer who serves as the UK-based Music Director for ALIBI Music. ALIBI is a leading provider of music and sound effects for license in film, television, advertising, videogames and other forms of content.