What you don’t know about Stock Music Licensing can (metaphorically) kill you PT. 1

We’ll do more parts because:

A: There’s a lot to know

B: If your attention span is anything like ours, you’ll barely make it through this brief blog before running to check your Instagram)

Stock Music, Production Music, Music Beds, etc. The words alone strike terror into the heart of many a producer & editor. Beyond plunging into the abyss of trying to find the right tone and feel in a miasma of questionably produced, poorly meta-tagged cues, you, the end-user, are entering into a legally binding agreement with whatever library you choose as your resource. That’s a pretty big responsibility to put on the shoulders of Skyler, your new intern.

Here are a few things you need to make sure of when utilizing the service of a professional production music provider (We’ll save the topic of illegal usage for a later date, you won’t want to miss the evisceration, it will make Mel Gibson having his intestines roasted look like an excerpt from Guy Fieri’s Ptomaine Diner Favorites). Ok enough of the preamble, your Instagram is getting lonely-we understand.

PT. 1: 
Digital Fingerprinting
Changed The Game
If you don’t know, digital fingerprinting as it relates to music cues, simply means that the

tracks have been imprinted with an identifying tech that allows places like YouTube to immediately recognize them with their content ID system. On the Publisher side (that’s places like The Organic Music Library etc.) it allows us to track our music and make sure there are no illegal uses going on, sometimes make a couple of extra bucks from Ad $$, and detect when a composer may be trying to pawn music off as being exclusive when in fact it is in 6 other libraries, occasionally this happens, and the fingerprinting tech catches it, saving us all from prolonged Administrative hassles). The Digital Rights issue has also underscored the absolute necessity for dealing only with libraries that offer EXCLUSIVE CONTENT. Non-exclusive libraries can’t guarantee they control the digital rights, and in this brave new world of Web Content, that is a prescription for disaster; avoid them like the plague. So on a top-level, The Fingerprinting sounds like a pretty good thing.

You’ve probably seen the YouTube Notices that let you know you are using copyrighted music. Asking you to “accept” or Lord forbid  “dispute” . This is often a shock to an unsuspecting purchaser, thinking they had clear and unfettered rights to use the charming Ukulele and Bells thing anywhere they wanted.

stock music licensing
Did you check to make sure your license cleared you for YouTube monetization etc.? We’re betting the small print on your license (we don’t read them either)-you’re not the only one) said something about the music not being cleared for YouTube monetization, which in simple terms means you can’t advertise and collect revenue on your fantastic video of Muggins The Talking Parrot or some such thing. The Ad Revs will be going to whoever is holding the digital rights… and in this case, that isn’t you. Now many libraries are super attentive to this and clearly state what license you need for YouTube Monetization, but many don’t. In fact, some will actually offer to give you FREE MUSIC in order to put you in this exact position. So remember Free isn’t always Free. It’s imperative that you confirm that your stock music source controls the digital rights to the music and is giving you clearance with your purchase/license to collect ad revs on YouTube if that is your intent.

So how do we at The Organic Music Library handle this issue? We’ve come to what we think is a win-win for Publishers & Clients: Essentially, when you license from us at the appropriate level, we guarantee swift and speedy removal of any claim on your video. Through our relationship with our fingerprinting company, we have a special back door channel into YouTube that can more or less instantly remove any legitimate claim from our clients, allowing them to happily sit back and watch the $$$ roll in. You don’t have to go through the “Dispute” process, just email us the URL and POOF-like magic it goes away and you can get back to more important things like Instagram.

Though we are always happy to freely impart wisdom and suggestion, The Organic Music Library would love to get your business. Come visit us and experience our wide-ranging catalog of extraordinary, pre-cleared, and immediately downloadable stock music at great prices. We also offer truly fantastic unlimited access blanket deals that can save you a fortune in both time and money. We’ll make it worth your time.

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Is Production Music Sabotaging your Productions?

Got everything visually perfect in your video production?

Still not satisfied?

Chances are the weak link is the music you used.

To illustrate the importance of the right Production Music, let’s use a Sports Metaphor:

You’re putting a team together (we’ll use hockey because we’re kind of macho). We have recruited the best guys imaginable; fast, skilled, forwards who compliment each other in every way. An absolute “dream team” of offense; unstoppable superhumans who also bring imported beers for after the game.

Next we get the best defense we can find. Physical terminators who terrify the opposition. They have 5 shared teeth between them and curse at the opposition in Russian. They also know the best jokes and have connections at the local strip clubs.

Got the perfect team here right?

WAIT!!!! What about a goalie???

Ok you think, Well…since this team is so good why don’t we just pull some guy in who is a decent skater and put some pads on him. After all, this team is so good the goalie won’t matter…RIGHT?



The team is your quality video work, great lighting, great camera work, immaculate editing and even great sounding dialog. And what did you do to finish post production on your efforts?

You sent Tyler The Intern on a quick search for some Royalty Free Stock music.

Tyler, bless his recently somehow made it through college heart, psychology degree in hand, stumbles upon a site boasting thousands of cues and “pay once use forever” benefits. “Wow” says he, “This is awesome”

But in short order, Tyler, overwhelmed by the number of returns, and having the musical reference of, well, an intern, selects something in the category of “I dunno, it’s OK” and submits it 5 minutes before the deadline and you, Mister or Ms Executive Producer end up with a track that is the equivalent of the above Swiss cheese goalie.

Just a skater with some pads. Call him Tyler on Ice.

So how can you avoid this nonsense and take your productions over the top and into the win column (see how we brought the Sports thing back, pretty clever for a couple of musicians aye?)

7 Steps to Getting Better Production Music

1: Use a Curated, REPUTABLE Music Library that screens all of its music.

2: Try a demo track in the video before you commit to a purchase.

3: Aways download or purchase the hi-res (wav or aif) file as opposed to the mp3. If the library does not offer hi-res, run away immediately.

4: Avoid “Royalty Free” music like the plague it is, Especially if you plan on posting your work on YouTube. See: Royalty Free Music may be Costing you Money? and open your eyes to the nightmares you can encounter from what seems like a great deal.

5: Make sure you have licensing clearance to use your music in perpetuity for any and all platforms wherein your work might appear.

6: Contact us, your pals at The OML and let us show you how great it is to work with a caring, service oriented Music library and our team of monstrously talented writers.

Oh and number 7: Send Tyler on a search for decent coffee instead of decent production music

You shoot-you score.

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Give Me The Kale – Your 2015 Production Music Resolutions

Organic Production MusicSo it’s 2015. You’ve just skimmed through a barrage of inspirational phrases and photos in your social network feeds. It’s time to start your Creative New Year off right. Admit it: You need to slim down a bit, get a little more focused and energetic with the sound of your productions,  trim the fat, and take stock of yourself and your stock music searches. You’ve tried everything, yet your productions look at themselves in the mirror, sigh miserably and anthropomorphically ask you:

“Dude, (or Dudette) why are we using the same cue in episode 15 that we used in episodes 2, 7 and 9? The same one that we over-used in the last three seasons. Why does that 70s funk tune you questionably inserted under the puppy montage have synth brass that sounds like a $39 keyboard from Wal-Mart?  Why does your music library return 786,000 results when you do a search, and why for the love of all that is is Holy are the only two usable cues buried on page 35? And I know I keep asking you this, but  Why can’t I get clearance for my royalty free music on youTube so that I can make money advertising?  I can’t take another year of this. I’m ready to hop on the digital scrap heap and self-immolate.”

You owe it to your productions to make them happy, to help them feel like the lean mean content machines they aspire to be.

The Organic Music Library will give you what you need so that your productions can hit the public with pride and shed those man bras. The Organic Music Library will reduce the fat from those crowd-sourced searches that that keep you from looking for new music. We will put your productions on a steady diet of pure, real, curated, “Organic” music (That means it was written and produced by real live human COMPOSERS who know WTF they are doing as opposed to the endless assault of crap that gets presented as viable production music in lesser libraries) giving them health, longevity, a better complexion, and more confidence in social situations. Plus, because our music is exclusive, you will never have to worry about clearance for YouTube advertising. We got you covered.

So get with it, you have nothing to lose but the fat.

Click here to start your 2015 off right with our
Production Music Health and Fitness Program


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What Everybody Needs to Know About Digital Fingerprinting

Pre-Cleared for YouTube

See part 1:” Royalty Free Music May be Costing you Money”

Did you get this message while trying to upload your video to youTube?

Due to a copyright claim, you are no longer monetizing the following YouTube video. It is still playable on YouTube, but the copyright owner could choose to show ads on it.

Many of our clients have begun to notice YouTube flagging videos for Copyright Claims related to music. This is going to become commonplace as YouTube and other similar venues work to make sure their music usages are all authorized, and we here at the Organic Music Library want to assure you that our clients you will be protected.

How Does this Work:
YouTube automatically checks every video that is uploaded to see if the person that uploaded the videos has a license to use the music in that video.

This means, even if you have a license from us, you too will get a notice from YouTube asking if you have one ( there is no way to let them know ahead of time that you do.)

But I want to Advertise on youTube:
Because of this, if you want to advertise on your videos, all we need you to do is email us the URL of your video and we will use a back-end system to tell YouTube to leave you alone.

Do NOT click  “Dispute” or “Acknowledge” the claim as this will create an unnecessary delay.

Get Music Pre-cleared for youtube

Just email us the URL of your video and we will get it taken care of.

If you are not advertising on the videos, you don’t need to do anything.

This new technology brings home the importance of dealing only with an exclusive catalog such as ours. Using music from a cheap, non-exclusive or royalty free outlet will more than likely expose you to similar situations, but without any recourse, as the “owners” of the fingerprint may have nothing to do with the site at which you purchased the track and absolutely no vested interest in removing the hold on your video.

We are only licensing music to which we hold the digital fingerprint rights, and you can use our music with absolute confidence.

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Royalty Free Music may be Costing you Money

Pre-Cleared for YouTube

See Part 2:”What Everybody Needs to Know About Digital Fingerprinting”

Imagine the Following Scenario:

It’s not such a stretch, after all you’re a brilliantly clever videographer/producer etc. and sure to catch the attention of any and all who happen upon your work.

Lightning strikes and you wind up producing the ultimate viral video: 15 million hits on YouTube with the anticipation of mega ad $$$ rolling in. Very nice, but before you put the down payment on the Penthouse, ask yourself the following:

Did you use Production Music with clearly established digital rights?

“Well, yeah, I mean I got it from that Royalty Free site that says they have exclusive content so I figured everything was fine and dandy.”

Until you see this…and you will:

Due to a copyright claim, you are no longer monetizing the following YouTube video. It is still playable on YouTube, but the copyright owner could choose to show ads on it.

Due to a copyright claim, you are no longer monetizing the following YouTube video

Looks like you used music that has a third party copyright claim on it.
This in and of itself isn’t a bad thing, in fact it ‘s a good thing provided that you licensed the cue from the same people that hold the digital rights and they are willing to release the claim.

Unfortunately, the majority of Production Music providers can’t honestly tell you they control the digital rights to their catalog. Some do, but LOTS don’t and this is where it gets really hairy for you, the end user.

“But wait, you say, I purchased from (insert your favorite royalty free or non-exclusive provider here) – I PAID FOR THIS!!!”

Yes, you did, but you didn’t get a guarantee that they held the digital fingerprint to the music and would be nice enough to remove any ensuing claim so you can start collecting those big ad revenues (and believe us they are big and getting bigger – YouTube alone 6 BILLION bucks annually).

So now, you find out that some other guy, (let’s call him Herbie, Herbies can be really slimy) has the claim on the digital rights. You beg Herbie, “Please please please Herbie, release this claim so I can buy my penthouse and get that nifty Leather couch I always wanted.”

Herbie of course, takes a quick look at the ad  $$ coming in from YOUR work and says:

“I don’t think so.”

You, my friend, are now S.O.L and Herbie is on the way to the Caymans with an extremely Hot Brunette 30 years his junior

C’est La Vie – it’s back to trying to get your cat to ride a lawnmower with a parrot on it’s head.

Get Music Pre-cleared for youtube

So how do we avoid this insanity from occurring?

There are a few ways.

  • Only use music from a provider that can guarantee the following:
    • We control the digital rights to the music licensed to you
    • If you choose to advertise on a YouTube video, we will happily release any claim on said video
  • Only use music that has NEVER been digitally fingerprinted (good luck with this, unless it’s your nephew’s latest attempt at musical stardom, featuring garage band and wooden spoons on pots and pans)

In any case STAY AWAY from “ROYALTY FREE SOURCES” if you are going to advertise on your videos AND YOU SHOULD, because you did the work. The cheap upfront price can cost you LOTS of MONEY in the end.

And finally:

DON’T be sucked in by come ons that offer FREE MUSIC for your YouTube videos. Read the fine print – it’s a gimmick to get ad space using your work and cutting you out completely.

Come to the Organic Music Library, where we have worked like maniacs to ensure that we control the digital rights to our ENTIRE catalog, and will protect your interests at all times.

We’re just as cost effective as anyone else – only we have better music.

Proceed to Part 2:”What Everybody Needs to Know About Digital Fingerprinting”

All Production Music at the Organic Music Library is Pre-Cleared for YouTube








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10 Production Music Mistakes To Avoid Like The Plague

First things first: You’re not a fat guy getting on a cheesy consumer level elliptical stuffing your pie hole with an oversized cheeseburger. You are a videographer or filmmaker who takes your profession seriously and you are proud of your work. You know that a killer audio track will elevate your projects no matter how good the visuals are. You may have been lead astray from colleagues or peers that aren’t necessarily experts on this topic. You may be falling into habits that are hindering you from making your best work better than your competitors, or worse yet, you may be setting yourself up for possible litigation. Check out the following list of common mistakes to make sure you are making all the right moves with your underscores.

1: Using unlicensed or improperly cleared music.

Imagine walking into Moe’s Furniture Heaven, you know it’s that place with plush faux cowhide sectionals that seat 12, (or 8 plus your fat brother-in-law) and just grabbing the nearest recliner you see and rolling it out the door without paying for it. Using unlicensed music is no different-this is someone’s property and unless you are granted a license to use it, you are in effect stealing. This may not seem like a big deal, until someone nails you for it after your footage is being broadcast. Ruh Roh – say goodbye to your relationship with that broadcaster/production company etc..

2: Same as 1 with another explanation that seems to always work

YOU DON’T HAVE THE RIGHT TO USE STAIRWAY TO HEAVEN or JUMP or some piece of MILEY CYRUS GARBAGE or ANY OTHER PIECE OF MUSIC just because you think it looks neat with your picture. Putting any piece of music to your video without a license is a violation of copyright law.

3: Jumping on The Zeitgeist Bandwagon

Are you kidding us? Do you REALLY want to use that simpering Ukelele and Bell thing with a female voice merrily tiptoeing through the tulips wisping “OH OH OH OH OH OH OH”? Hey, we’ll sell it to you if you must, but c’mon don’t be such a copycat. Quality libraries have hundreds of options available. Take some time to create your own musical identity. You might even consider juxtaposing less obvious genres. The results might amaze you.

4: Is that an audio edit or did your cat just jump on the laptop?

Graceful usage of fades is imperative. Abrupt audio can jar your viewer and drastically cheapen your work. Here’s an inside tip: When fading a ringout ending, typically 2500 ms will do the trick, if you need to fade within the body of a track, you’ll generally need significantly more than that.

5: Using The Same Music Same Music Same Music Same Music Same Music

Unless you’re Yoko Ono or the production team at a Hindu Monastery, chances are you’re going to have some points of emotional/informational divergence in your work. Highlight these with effective and tasteful music choices. Even if you’ve got a fixed one shot for 5 minutes, try finding the moment within the picture/narrative/voiceover when you can shift music and prevent your viewer from hitting the remote or going into a coma.

6: Not looking deep enough into your search results

When dealing with an extensive catalog like ours or other quality libraries, producers are often faced with overwhelming amounts of material. Even when using search tools we offer that help hone down the choices, there may still be a few pages of returns. Helpful Hint: Patience is a virtue, we all have a little ADD, this isn’t Google-the cues on page 4 of the returns are awesome and you should take the time to scan through.

7: Not taking advantage of features that Production Music Libraries offer

Don’t tell us you never had trouble locating a track. Everyone does from time to time. Even when you think you know a library catalog inside and out, you probably don’t. When a library offers you Free Search assistance (Hint: We do) use it.  At the very least, you might get hipped up to some choices you hadn’t previously considered. Which leads us to:

8: Get out of the rut.

We know you love AMAZING WORLD and PRODUCT INTRODUCTION. We know this because we can see how many times we license them and of course we are more than happy to license them again and again, but try using a feature like “MORE LIKE THESE” and open yourself up to the incredible effect a slightly different musical approach can have on your footage.

9: But wait there’s more…need for music that is and you’re broke

It’s an unfortunate reality that production music in so many cases is treated as the bastard child of the media world. Forgotten in the attic until the day when you realize you need it.  Of course the budget has been blown to shreds on that location shoot and the 14 course meal you had catered for the talent. Yikes. Bet you wish you had that blanket license now doncha?

As a business, we’re of course happy to sell at full price all day long, but as fellow media production veterans who have suffered almost every imaginable indignity along the way, we try to keep our Kumbaya thing happening as much as possible. The Organic Music Library and many other reputable companies offer EXTREMELY DISCOUNTED BLANKET LICENSES. For anybody using more than 10 pieces of production music a year, this is a no-brainer. We also offer special price points for what we term Level 2 customers, these are smaller companies with teeny tiny budgets who deserve access to good music too and an occasional hug.

10: Cue Sheet Dysfunctionsitis Disorder

A terrible condition in which production teams and broadcasters fail to understand the importance of filing an accurate cue sheet. Generally incurable, but treatable. When you produce programming that gets broadcast, the music within the production needs to be logged on a cue sheet in order for the writers and publishers to claim what are called performance royalties. Most networks have agreements in place with ASCAP/BMI/SESAC etc. and it doesn’t cost you anything to do the right thing. Consider that the people who wrote the production music that is making your show totally ( fill in appropriate descriptive: ass kicking, tearjerking, hysterical, sinister etc.) rely on these royalties to help them survive. Most libraries (HINT: We do) will fill these out for you and save you the administrative work.

These may seem somewhat obvious to you, but it doesn’t hurt to take a few minutes and do a reality check. Ask yourself if your production music is working for you as is or if it may be time to shake things up. If you need a good place to start, The Organic Music Library is waiting for you. Feel free to contact us with any questions.

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Funkifying the Celluloid: Great Moments of Black Music in Film

AfroIt’s February. It’s cold, the Superbowl is over, the Olympics are in full effect and it’s Black History month. So we thought we’d take a few minutes and create a small list of some of our favorite moments in film and television that have spotlighted African American music through the years. This is a partial list of highlights and by no means a ‘best of” list. These titles are not ranked in any order of quality, this is just a stream of consciousness smattering of some great moments of soulful music in media that come to mind. We encourage you to feel free to add your favorites to the list in the comments below.

  • 1929 – “St. Louis blues” a two-reel short film starring Bessie Smith and featuring Bessie’s amazing performance of  W.C. Handy’s, “St. Louis Blues.” The earliest occurrence that comes to our minds (although there may be earlier examples).
  • 1959- Otto Preminger’s “Anatomy of a Murder” - score by Duke Ellington and His Orchestra. Duke was the  First African-American composer nominated for an  Academy Award for this soundtrack.
  • 1971 “Shaft” – Enough said.
  • 1972- “Supa Fly” - What can you say about this one? Possibly the greatest soundtrack ever. Curtis Mayfield literally flipped the message of this film from being a promo film for cocaine to an illustration of the ill effects the drug had on the Black Community.
  • 1972 – 77  “Sanford and Son” (TV Theme) Quincy Jones provided the funk for this one with some bottom end groove genius from Chuck Rainey’s  P-bass.
  • 1974- Dino De Laurentiis’ “Death Wish” –  Score by Herbie Hancock. Deep funky jazz.
  • 1974 - “Foxy Brown” – Willie Hutch provides the grooves for this one, and weather you were black or white growing up in the 70′s, you thought Pamela Grier was hot.
  • 1975 – “Mahogany” Produced by Motown Record’s Berry Gordy, starring the label’s biggest star at the time – Diana Ross.  “Do You Know Where You’re Going To” was the standout track.
  • 1983 – “The Big Chill” –  When they started grooming the corpse to the beat of Marvin Gaye’s  “Grapevine” you knew you were in for something special in this film. The rest of the movie is laced with more Motown gold.
  • 1994 – “Crooklyn” – Spike Lee always chooses great music for his “joints” and Terrance Blanchard always provides great musical scores. But the collection in this film is like a K-Tel nostalgia collection of the best soul from the mid 70′s.
  • 1997 - “Love Jones”  - Young, hipster, urban, knowledge seekers fall in love to the music of Lauryn Hill, Casandra Wilson, Wycleff Jean and numerous other soul providers.
  • 1998 – “Lock Stock and Two Smoking Barrels”-  Guy Ritchie utilized the uber funk track “The Payback” by James Brown in this film. Interestingly that song was rejected by director Larry Cohen for “Hell Up in Harlem” (the film it was originally intended for) because he though it was “not funky enough.”  Yo Larry … would you like a few lessons on the meaning of  “the One?”
  • 1999 - “Ghost Dog: The Way of the Samurai”James Jarmusch tapped the talents of RZA for some Wu Tang ambiance.
  • 2000 - “Boiler Room”  - Features the vibey hip-hop of a Tribe Called Quest and De La Soul amongst others.
  • 2005 – 09 – “Everybody Hates Chris” (TV Show) a smattering of 80′s funk with original music by Marcus Miller.
  • 2010 – 13 – Treme (HBO) The musical supervision in this show was so lovingly and authentically crafted, it deserves to be on ALL lists of great music in media. This show highlighted every genre of music, both Black and White, that was born in New Orleans. At times it seemed the music was more important than the plot (no discredit to the story-line) in this mini-series. 
  • 2012 – “Django Unchained” Modern hip-hop curiously makes its way to the late 1800s.

Click here to Funkify YOUR productions with music from The Organic Music Library:

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Romantic & Sexy Production Music, A Valentine’s Day Usage Manual

Back in the days of the Silent Movie, local piano players tinkled the eighty eights in order to underscore the overacting and telegraph to the somewhat shellshocked audience what they should be feeling. The Heroine is on the railroad tracks, cue the diminished chords and make them tremble etc. Fast forward a few years and we observe the onset of the “Love Scene” and it’s natural partner, the saxophone. How this production music event happened is a mystery that will be reserved for film music anthropologists, but suffice it to say that the implied moaning in the boudoir was made real by the slinky woodwind gyrations and let us know with no uncertainty that yes, action was being got; your imagination did the rest. Time marched on, cinematic heroines got nuder and nuder, there was less to the imagination, yet still did the saxophone remain the production music instrument of desire. To this very day, low budget Lifetime flicks starring (insert fave heroine here; we’ll go with Eva Longoria for 800 Alex) maintain this hallowed tradition. Whether it’s a misty, female targeted, “he’s so wonderful I’ll give myself unto him and he’ll love me forever even though I stop taking care of myself” kind of thing or a downright Va-Va-Va-Voom strip-a-thon (that’s a lot of hyphens). The sexophone (no it’s not a typo-it’s a snarky play on words) will ever remain supreme as the instrument of Eros. Here are some perfect examples from our perfect production music library:

Happy Valentines Day from the Organic Music Library

She Loves Me She Loves Me Not…more than likely the latter, but that doesn’t stop you from trying and we love you for it. Get in the mood for love with these Romantic And Sexy cues.

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Finding that Perfect Holiday Production Music Cue

It’s that time of year where video editors and filmmakers of all ages dream of emptying their stockings onto the floor and finding a pile of quality, holiday production music perfectly suited to the contexts of their footage.

Oh sure it’s easy wherein you have the perfect 1950’s traditional  scene where the children are innocent and wide eyed and still have not had the experience of Marilyn Monroe’s centerfold, dad’s wearing a suit while he smokes his pipe (he has experienced Marilyn Monroe’s centerfold)  and mom is baking enough sweets to to put the Green Bay Packers and two generation of their offspring into a diabetic ward for the next 70 years.  For that, you just grab your traditional holiday music, and load in the first one that brings a tear to your eye as it reminds you of the time that you wanted a bike and got an ugly sweater and some socks.

But what if dad’s pipe has something other than tobacco in it, mom’s doing shots of Jagermeister at the lesbian neighbor’s house while getting a tattoo, and the kids are more jaded than a sailor after a week’s leave in a New Orleans brothel that is located over top of a crack house. On top of that, the rest of your score sounds as if it were created by a guy with half of his head shaved off and body piercing that leads to comparisons with the World War II navy mine that washed ashore on Gilligan’s Island. For that, you are going to need something slightly beyond Bing Crosby’s “White Christmas.”  How about a version of Jingle Bells, that features chunky guitars and turntables?

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Or this prog rock tinged, epic sounding rendition of God Rest Ye Merry Gentlemen.

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What if your main characters are a couple of teen siblings running off to Tijuana on Christmas Eve to spite their parents and lose their virginity. On the way they get sentimental about the good old days before they realized that dad was really the cable guy. They glare out on to the Mexican roads to the sound of this Mariachi-esque Christmas cue.

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Then you are faced with a scene that takes place circa 1964 in Memphis and your male lead is still wearing pork chop sideburns and drives a 56 Buick as he flees town for a new life that doesn’t require much book learnin’. The director cuts to a montage of previous Christmases and you need that perfect Booker T thing that also telegraphs Christmas. Well, you are in luck… Try “Away in the Memphis”

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or this “Christmas with Santo and Johnny” style cue.

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Or that jewelry commercial that features the 20 something couple in front of the Christmas Tree wearing really expensive pajamas. He presents her with the necklace she’s always wanted…because he loves her, or is it because he is guilty about having relations with her sorority sister who was the maid of honor in their wedding…we aren’t really sure but, we are sure that this introspectively sophisticated version of “Away in a Manger” by the amazingly talented pianist, John Beasley will do the job.

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By now we think you get the idea

Click here to find more eclectic holiday cues including:

  • Retro Christmas Music
  • Hip Hop Christmas Music
  • Electro Christmas Music
  • Rock Christmas Music
  • Ambient Christmas Music

Or you might still want the traditional stuff, of which we have plenty.

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Production Music Friends With Benefits

Production Music FriendIn a world where producers and filmmakers are often forced to skirt on their music choices (“There’s no budget, my nephew Skyler can make us some tracks in Garage Band”) it might seem unlikely that one could actually obtain high quality underscore without going deep into the pocket.  Let’s face it, there are few attributes that can improve the overall production value like great music, but the notion, for instance, of a deeply orchestrated and thoughtfully composed soundtrack seems out of reach.

There can be some clever ways around this if you understand how to access and select the right music at the right price, so in the spirit of enlightened self-interest, we’ll show you how. As owners of a production music library, one thing that consistently amazes us is how often we will receive richly orchestrated material that embodies many years of training and true flair for composition; really spectacular stuff that runs the gamut from Hollywood to Downton Abbey.  We have hundreds of such tracks intelligently organized and waiting for clever filmmakers to have their way with them.

And here’s the extra benefit: Because we are such nice, liberal-minded owners who keep our greed to an absolute minimum, (and who genuinely DESPISE crappy production music), we allow you, the independent or documentary filmmaker, to access our COMMERCIAL LEVEL 2 pricing. Simply put, a genuinely spectacular bit of Orchestral (or any other genre you want) Underscore is available for immediate download for twenty bucks a track, cleared, done, finito, over. If you need a whole bunch of music or are working on multiple projects, you can get our COMMERCIAL LEVEL 2 BLANKET; that, for 750 dollars, allows you to download unlimited amounts of music for one year. Think about this: you can try out THOUSANDS (well, that may be excessive, but you COULD) of tracks in your work and get exactly the feel you like without trying to communicate to your long suffering editor in terms that would make Kafka shudder: “It needs to be like lighter, with a heavy electro acoustic ambient tone and with, I don’t know, some bass or strings, Maybe a flute” (No, really-we hear this kind of stuff on a daily basis).

The Organic Music Library is certainly not the only production music site that offers spectacular music at a reasonable rate, but we like to think of ourselves as one of the Premiere connection points between amazing composers and filmmakers. Think of us as your friend.

Yes, that kind of friend.

Browse our Music

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