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Top Music Library/Publishing companies for 2019?
Old 4 weeks ago
  #1
Gear Maniac
 

Top Music Library/Publishing companies for 2019?

hey guys with all the talk lately of the industry been completely saturated i'm just wondering what are peoples opinions on which production music publishers/libraries people feel are still at the top of the tree in 2019?

would it still be:

FirstCom
Killertracks
Megatrax
Extreme
EMI
APM
BMG
5 Alarm
UPPM
Warner Chappell

should any be removed from that list or should be have some new entries that have broken through in the last couple of years?
Old 4 weeks ago
  #2
Gear Maniac
 
Arcana's Avatar
 

Universal is missing from that list.
Old 4 weeks ago
  #3
Gear Maniac
 

Quote:
Originally Posted by Arcana View Post
Universal is missing from that list.
fixed it
Old 4 weeks ago
  #4
Gear Nut
 

I'd take BMG off. Maybe add DeWolfe and West One.
Old 4 weeks ago
  #5
Quote:
Originally Posted by Arcana View Post
Universal is missing from that list.
Ummmmmm... Killer Track and Firstcom ARE Universal Production Music here in the US. Universal Production Music is Killer Tracks and Firstcom. They are one in the same. And technically Universal owns 50% of APM too.

And... Sony owns both Extreme and EMI... so Extreme, EMI and Sony/ATV are all technically Sony/ATV.

5 Alarm is owned by Ole, which just as a couple weeks ago is now called "Anthem Entertainment"... Anthem owns 5 Alarm, Jingle Punks, Music Box and Cavendish Music.
https://www.anthementertainment.com/production-music/
Old 4 weeks ago
  #6
Quote:
Originally Posted by dannymc View Post
hey guys with all the talk lately of the industry been completely saturated i'm just wondering what are peoples opinions on which production music publishers/libraries people feel are still at the top of the tree in 2019?

would it still be:

FirstCom
Killertracks
Megatrax
Extreme
EMI
APM
BMG
5 Alarm
UPPM
Warner Chappell

should any be removed from that list or should be have some new entries that have broken through in the last couple of years?
the other big thing is "what market"? what market within the industry? Are we talking strictly in Film licensing? Or in TV Show licensing? Or specifically reality TV? Or Promo? Or Advertising/Commercials? or Movie Trailers? or Corporate A/V? Or Youtubers?

There isn't "ONE" company or even the same three that owns all of those markets. There are different companies at the top of each one of those markets.
Old 4 weeks ago
  #7
Quote:
Originally Posted by dannymc View Post
hey guys with all the talk lately of the industry been completely saturated i'm just wondering what are peoples opinions on which production music publishers/libraries people feel are still at the top of the tree in 2019?

would it still be:

FirstCom
Killertracks
Megatrax
Extreme
EMI
APM
BMG
5 Alarm
UPPM
Warner Chappell

should any be removed from that list or should be have some new entries that have broken through in the last couple of years?
Even if these aren't the top ones... you can consolidate the list down to this...

Universal
Sony/ATV
Warner Chappell
BMG
Megatrax

Everything else in your list is owned by one of those companies.
Old 4 weeks ago
  #8
Gear Maniac
 

Quote:
Originally Posted by Etch-A-Sketch View Post
the other big thing is "what market"? what market within the industry? Are we talking strictly in Film licensing? Or in TV Show licensing? Or specifically reality TV? Or Promo? Or Advertising/Commercials? or Movie Trailers? or Corporate A/V? Or Youtubers?

There isn't "ONE" company or even the same three that owns all of those markets. There are different companies at the top of each one of those markets.
in general Etch i was talking non-trailer libraries as i know alot about those ones. actually among the ones mentioned which would be the leaders in the advertising/commercials, tv show licensing and finally film licensing?
Old 4 weeks ago
  #9
Lives for gear
 
Amber's Avatar
 

Quote:
Originally Posted by Etch-A-Sketch View Post
Even if these aren't the top ones... you can consolidate the list down to this...

Universal
Sony/ATV
Warner Chappell
BMG
Megatrax

Everything else in your list is owned by one of those companies.
By end of this year I'll have collected them all!
Old 4 weeks ago
  #10
Quote:
Originally Posted by dannymc View Post
in general Etch i was talking non-trailer libraries as i know alot about those ones. actually among the ones mentioned which would be the leaders in the advertising/commercials, tv show licensing and finally film licensing?
This is just my opinion since a lot of these companies are not publicly traded and you can't get any info whatsoever about their revenue... this is just from what I've seen and from consensus talking to clients myself... so this list isn't really that accurate... but it's at least one "frame of reference". Others please feel free to chime in and either correct me if you feel this isn't accurate or add to it based on your experiences...

Ads/Commercials:
APM
Anthem
Warner Chappell

Promos
Video Helper
Universal
Megatrax

In Show TV
Sony/ATV
APM
Position

Reality
Vanacore
Ah2 or Finetune
Sony/ATV or Anthem

In Show Film
Warner Chappell
APM
Position
Old 4 weeks ago
  #11
Gear Maniac
 

Well good luck to anyone that thinks BMG and WC's earnings compare to some of the others on the list.

That is something you are gonna have to find out for yourselves.
Old 4 weeks ago
  #12
Gear Maniac
 

Quote:
Originally Posted by lornemalvo View Post
Well good luck to anyone that thinks BMG and WC's earnings compare to some of the others on the list.

That is something you are gonna have to find out for yourselves.
are BMG UK based? to be honest i only have them on the list due to them being there from a previous year 2017. i've no experience or knowledge of them being a great performing production library. perhaps those with more experience with them and success might chime in.
Old 4 weeks ago
  #13
Lives for gear
 
VitaEtMusica's Avatar
 

Quote:
Originally Posted by Etch-A-Sketch View Post
This is just my opinion since a lot of these companies are not publicly traded and you can't get any info whatsoever about their revenue... this is just from what I've seen and from consensus talking to clients myself... so this list isn't really that accurate... but it's at least one "frame of reference". Others please feel free to chime in and either correct me if you feel this isn't accurate or add to it based on your experiences...

Ads/Commercials:
APM
Anthem
Warner Chappell

Promos
Video Helper
Universal
Megatrax

In Show TV
Sony/ATV
APM
Position

Reality
Vanacore
Ah2 or Finetune
Sony/ATV or Anthem

In Show Film
Warner Chappell
APM
Position
I can't say anything specific, but as far as WC is concerned, I probably wouldn't include them in Film placements. But I would keep in mind a number of very large blanket deals with networks that amount to plenty of in-show use and promos. It's one advantage giant publishers have over the little guy- the ability to make large enterprise deals based on the number and quality of tracks available... and the constant barrage of new material being fed into the system.

As a sorta lateral, with Gari, 615, and Non-Stop Music, WC also dominates the news music market.

I still believe that there are a lot of boutique libraries that will earn you more per track based on quality placements. But the big pubs pay upfront, and often pay pretty well, so the choice is take a gamble on a small company, or go for the sure thing upfront and expect less on the back... Sometimes you get upfront and big royalties. Crazy, ain't it?!

If everyone showed their hand, my guess is that composers who took the original PremiumBeat 50% sync deal back when are making significantly more than any composer working with a major publisher. Based on 1st hand stories I've been told, they are knee-buckling numbers.

If anyone is looking for advice- I'd say find the music company who is making serious headway in the UGC world and is willing to share/split syncs per license (not subscription).
Old 4 weeks ago
  #14
Quote:
Originally Posted by dannymc View Post
are BMG UK based? to be honest i only have them on the list due to them being there from a previous year 2017. i've no experience or knowledge of them being a great performing production library. perhaps those with more experience with them and success might chime in.
BMG is based out of Germany but they have offices all over. they are going through a transition period right now and have been acquiring a TON of music catalogs. I know they bought Immediate Music last year, they bought Deep East (not No Sheet Music! ) and so on.

While they currently don't have the licensing staff to really capitalize on the acquisitions they are starting to increase their licensing staff... I know Universal was the strongest library in China and earlier this year BMG pretty much took Universal's entire china licensing team (5 offices from 5 different cities across china, hong kong and taiwan). So now BMG is very quickly becoming the leader in China and southeast asia.
Old 4 weeks ago
  #15
Quote:
Originally Posted by VitaEtMusica View Post
I can't say anything specific, but as far as WC is concerned, I probably wouldn't include them in Film placements. But I would keep in mind a number of very large blanket deals with networks that amount to plenty of in-show use and promos. It's one advantage giant publishers have over the little guy- the ability to make large enterprise deals based on the number and quality of tracks available... and the constant barrage of new material being fed into the system.
Yes, good point. It's just when I talk to most TV clients they all keep telling me how they use Extreme and APM and their new found love is Position... I don't hear them talking much about Universal or WC or any of the others although they most likely have blanket deals with all of the catalogs.
Old 4 weeks ago
  #16
Gear Nut
 

Quote:
Originally Posted by Etch-A-Sketch View Post
Yes, good point. It's just when I talk to most TV clients they all keep telling me how they use Extreme and APM and their new found love is Position... I don't hear them talking much about Universal or WC or any of the others although they most likely have blanket deals with all of the catalogs.
I would agree with this for the US, but I suspect that Universal is killing it in UK / European TV. Obviously I can't say for sure but that is my feeling.

BTW Extreme always have seemed like the library with the absolute best music for what it's worth. I mean don't they have Snoop Dogg and Zimmer on their roster?
Old 4 weeks ago
  #17
Gear Nut
 

Quote:
Originally Posted by Etch-A-Sketch View Post
BMG is based out of Germany but they have offices all over. they are going through a transition period right now and have been acquiring a TON of music catalogs. I know they bought Immediate Music last year, they bought Deep East (not No Sheet Music! ) and so on.

While they currently don't have the licensing staff to really capitalize on the acquisitions they are starting to increase their licensing staff... I know Universal was the strongest library in China and earlier this year BMG pretty much took Universal's entire china licensing team (5 offices from 5 different cities across china, hong kong and taiwan). So now BMG is very quickly becoming the leader in China and southeast asia.
Yea and on top of that, BMG now apparently represent more catalogs which were independent before, even though they haven't bought those catalogs outright.

However, BMG have a long way to go to reach the level of the other biggies in that list.

The China thing is interesting... without sounding too terrible, does China actually pay royalties?! I kind of figure they would get lost somewhere along the way.
Old 4 weeks ago
  #18
Gear Maniac
 

Quote:
Originally Posted by VitaEtMusica View Post
I can't say anything specific, but as far as WC is concerned, I probably wouldn't include them in Film placements. But I would keep in mind a number of very large blanket deals with networks that amount to plenty of in-show use and promos. It's one advantage giant publishers have over the little guy- the ability to make large enterprise deals based on the number and quality of tracks available... and the constant barrage of new material being fed into the system.

As a sorta lateral, with Gari, 615, and Non-Stop Music, WC also dominates the news music market.

I still believe that there are a lot of boutique libraries that will earn you more per track based on quality placements. But the big pubs pay upfront, and often pay pretty well, so the choice is take a gamble on a small company, or go for the sure thing upfront and expect less on the back... Sometimes you get upfront and big royalties. Crazy, ain't it?!

If everyone showed their hand, my guess is that composers who took the original PremiumBeat 50% sync deal back when are making significantly more than any composer working with a major publisher. Based on 1st hand stories I've been told, they are knee-buckling numbers.

If anyone is looking for advice- I'd say find the music company who is making serious headway in the UGC world and is willing to share/split syncs per license (not subscription).
thats interesting, i always thought PremiumBeat was one of those race to the bottom libraries with a bad name. so they are actually a rated publisher among the PMA community then?
Old 4 weeks ago
  #19
Gear Nut
 

Quote:
Originally Posted by VitaEtMusica View Post
I can't say anything specific, but as far as WC is concerned, I probably wouldn't include them in Film placements. But I would keep in mind a number of very large blanket deals with networks that amount to plenty of in-show use and promos. It's one advantage giant publishers have over the little guy- the ability to make large enterprise deals based on the number and quality of tracks available... and the constant barrage of new material being fed into the system.

As a sorta lateral, with Gari, 615, and Non-Stop Music, WC also dominates the news music market.

I still believe that there are a lot of boutique libraries that will earn you more per track based on quality placements. But the big pubs pay upfront, and often pay pretty well, so the choice is take a gamble on a small company, or go for the sure thing upfront and expect less on the back... Sometimes you get upfront and big royalties. Crazy, ain't it?!

If everyone showed their hand, my guess is that composers who took the original PremiumBeat 50% sync deal back when are making significantly more than any composer working with a major publisher. Based on 1st hand stories I've been told, they are knee-buckling numbers.

If anyone is looking for advice- I'd say find the music company who is making serious headway in the UGC world and is willing to share/split syncs per license (not subscription).
I've heard some pretty crazy stories myself about other libraries...

Apparently there was a guy making so much from some TV tracks that were endlessly on repeat that he moved to another tax jurisdiction. Rumor mill had these royalties as over a million a year. As far as I know that was from one of the major publishers e.g. SATV / Universal.

Likewise I've heard some Audio Network composers are making absurd amounts of PRO royalties!
Old 4 weeks ago
  #20
Lives for gear
 

Quote:
Originally Posted by ohwell View Post
Yea and on top of that, BMG now apparently represent more catalogs which were independent before, even though they haven't bought those catalogs outright.

However, BMG have a long way to go to reach the level of the other biggies in that list.

The China thing is interesting... without sounding too terrible, does China actually pay royalties?! I kind of figure they would get lost somewhere along the way.
Heck yea China pays...but the libraries gotta physically travel/open an office there and show respect to the culture and people. A lot of American/European libraries think China is "easy money" but the folks over there are used to Western companies coming over and trying to extract business.

"It's not what you know it's who you know" is 100x more applicable over there. I met some industry folks in Asia who wouldn't pee on me if I was on fire do a complete 180 after finding out I was "street certified" by a mutual friend.

They move so fast that I got my first TV-ad sync out there less than 8 weeks after signing my sub-pub deal.
Old 4 weeks ago
  #21
Quote:
Originally Posted by ohwell View Post
I would agree with this for the US, but I suspect that Universal is killing it in UK / European TV. Obviously I can't say for sure but that is my feeling.

BTW Extreme always have seemed like the library with the absolute best music for what it's worth. I mean don't they have Snoop Dogg and Zimmer on their roster?
Yes, worldwide overall Universal is killing it. They are by far the top earner and most profitable worldwide.

As for extreme... most of the big names they have are just name only. Zimmer, Snoop, etc don't actually write for the catalog and really don't even hear any of the music that has their names on it. I know Quincy did the first couple albums for his catalog but that was it. Extreme paid them a bunch of money to use their name and likeness. Some of them already had a team of "writers" that worked for them, and so they were taking tracks from the writers to use in the libraries... But from what I heard it very rarely goes through the actual name artist.

But hey, it was a risky marketing strategy that worked. A lot of the music in the Extreme catalog is not that great. But there are a few gems in there that they really highlight... that in conjunction with the big names does exactly what they wanted marketing-wise... it brands the company as being the best. Go through and actually listen to a lot of the albums they have on their site though... you'll hear a few good ones interspersed around a lot of mediocre and not that great albums.
Old 4 weeks ago
  #22
Lives for gear
 
Amber's Avatar
 

Universal are killing it in the UK. Often it's the same handful of writers too. Whenever I look at my cue sheets, it's the same people all the time. A recent album of mine is doing really well in UK and US. They seem to have a great reach.

Definitely know of Universal and AN writers who are millionaires pretty much! Mostly folks who started off pretty early with both.
Old 4 weeks ago
  #23
Quote:
Originally Posted by dannymc View Post
thats interesting, i always thought PremiumBeat was one of those race to the bottom libraries with a bad name. so they are actually a rated publisher among the PMA community then?
No, as far as I know they aren't allowed to join the PMA because they are a "royalty free" catalog. Which is stupid to me... since most catalogs that consider themselves "royalty free" are just saying that because they only offer an "in perpetuity" synch license for a single spot or project. It's not really royalty free. From what I remember PremiumBeat was one of these (in perpetuity, not really royalty free) although I don't know if their licensing has changed since moving to Shutterstock.

Notice Vita also mentioned "...who took the original PremiumBeat 50% sync deal back when..." So he is saying that guys that got in with PremiumBeat early on are probably making a lot of money now that PremiumBeat was bought by Shutterstock... but composers that signed on later and didn't get that original deal probably aren't making that much.
Old 4 weeks ago
  #24
Gear Addict
 
burst's Avatar
 

Interesting thread
Old 4 weeks ago
  #25
Gear Addict
 
burst's Avatar
 

Quote:
Originally Posted by Etch-A-Sketch View Post
No, as far as I know they aren't allowed to join the PMA because they are a "royalty free" catalog.
Derek, I think the PMA has revised their stance on this issue regarding membership. I inquired recently when we were looking to join again after a few years away.
Old 4 weeks ago
  #26
Gear Maniac
 

Quote:
Originally Posted by Etch-A-Sketch View Post
No, as far as I know they aren't allowed to join the PMA because they are a "royalty free" catalog. Which is stupid to me... since most catalogs that consider themselves "royalty free" are just saying that because they only offer an "in perpetuity" synch license for a single spot or project. It's not really royalty free. From what I remember PremiumBeat was one of these (in perpetuity, not really royalty free) although I don't know if their licensing has changed since moving to Shutterstock.

Notice Vita also mentioned "...who took the original PremiumBeat 50% sync deal back when..." So he is saying that guys that got in with PremiumBeat early on are probably making a lot of money now that PremiumBeat was bought by Shutterstock... but composers that signed on later and didn't get that original deal probably aren't making that much.
ah very good. thanks for clearing that up Etch.
Old 4 weeks ago
  #27
Gear Addict
 

Can't speak for the other libraries, but I have two albums with Warner Chappell here in Europe, and they are getting nice placements in tv and adverts. They are very quick at releasing albums. Placements started soon after publication and apart from a few small breaks have been constant since. The tracks have been used on tv especially often in Germany, Australia, and Japan. For me it has been very nice and rewarding all around working with WC.
Old 4 weeks ago
  #28
Quote:
Originally Posted by burst View Post
Derek, I think the PMA has revised their stance on this issue regarding membership. I inquired recently when we were looking to join again after a few years away.
Really? I'll ask next time I see someone from the PMA. I started scrolling through their library list but didn't see any RF libraries. I gave up looking after a couple pages.
Old 4 weeks ago
  #29
Gear Nut
 

Quote:
Originally Posted by goodkeys View Post
Can't speak for the other libraries, but I have two albums with Warner Chappell here in Europe, and they are getting nice placements in tv and adverts. They are very quick at releasing albums. Placements started soon after publication and apart from a few small breaks have been constant since. The tracks have been used on tv especially often in Germany, Australia, and Japan. For me it has been very nice and rewarding all around working with WC.
That's good to hear! Did you contact them directly to start writing for them?
Old 4 weeks ago
  #30
Lives for gear
 
brockorama's Avatar
 

I belong to socan up here in Canada.

I have never had anything submitted to these libraries....however....

Does the libraries in this thread deal with socan?

Would socan collect on behalf of Canadian writers?

Or do you need to belong to other PRO for these purposes?

It all seems blurry....and I can't find my glasses
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