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Film & Promos / TV Commercials / Commissioned Music / Production Music
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About our Library
We have used the term jazzy very loosely. Here you can find not only straight ahead jazz, bebop & swing but also plenty of other genres, sometimes indefinable but always interesting or quirky. Over the course of the twentieth and twenty first centuries, jazz probably been the biggest influence on any other popular style of music.
You may want a cool ballad to add some smokyness to your scenes, lively jump-jive to add some zoot suited pzazz or some scorching latin american beats to spice things up.
What makes us different to the other libraries?
Listen for yourself.
Much of this music was not written with the idea of being library or production music, rather it was written for real bands playing in real clubs. You don’t need us to tell you this though, just browse our music and listen for yourself.
Production Music or Library Music?
Production music has evolved from library music. In some respects it is the same thing: pre recorded music available to production companies for use without negotiating copyright clearance or composition fees. Generally there are fixed fees payable for a synchronisation licence depending on length of music, territory and type of use.
The term library music is used because in the past publishing companies would build up a “library” of such music. They then make it available for use on television, film, radio and other media. This music was often looked down on as inferior, cheaply produced background or mood music. As music (and sound design) has become increasingly important in television advertising, the quality expected has increased. It can now compete with the use of existing pop, classical and jazz tracks, and the companies that produce this music are increasingly using the term production music partly to distance themselves from the previous downmarket connotations of the phrase.
“I have recently composed and produced several production music CDs for Universal music library, one of the biggest publishers in the world. The music which works best and earns the most money seems to be the music which sounds like it is a really authentic pop, jazz or blues recording.”
“In order to do this composers may need to use different methods from traditional soundtrack composition way of working. I have sometimes been asked to make the instruments out of tune or less rhythmically tight to sound more “street” rather than like a polished performance by session musicians. Some of the best jazz tracks used for media synchronisation, e.g. Mingus’s Moanin, were less than polished performances, and it’s this unrehearsed quirkyness that can give a jazzy tune a certain je ne sais quoi.”