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Music Submissions – Do you write and own your songs?

September 22, 2014 Opportunities No Comments

At DMS we have sub-publishing deals with Big Bang & Fuzz (Australia/South East Asia), Chicago Music Library (USA) and ROBA (Germany/Switzerland/Austria). This growing network of support around the globe increases the opportunities we can make available to independent composers making music to a high professional standard.

As a social enterprise, income generated by our catalogue also helps to fund community focused activities.

Who can submit music?

If you are a member of a Performing Rights Organisation (e.g PRS), plus write and own all the rights to your songs we can consider your submissions.


What is production music?

(also known as stock music or library music) it is the name given to recorded music that can be licensed to customers for use in film, television, radio and other media.

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. Thus, it can be licensed without the composer’s permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a work for hire basis. Production music is a convenient solution for media producers—they can be assured that they will be able to license any piece of music in the library at a reasonable rate, whereas a specially-commissioned work could be very expensive. Similarly, licensing a well-known piece of popular music could cost anywhere from tens to hundreds of thousands, depending on the prominence of the performer(s).

The first production music library was set up by De Wolfe Music in 1927 with the advent of sound in film.

Income Streams:

  • License or synchronisation fees: These are the fees paid upfront to the library for permission to synchronise its music to a piece of film, video or audio. In the UK, license fees for production music are nationally standardised and set by the MCPS. In the US and elsewhere, libraries are free to determine their own license fees.
  • Performance income (or performance royalties): is generated when music is publicly performed – for example, on television or radio. The producer of the show or film that has licensed the music does not pay these fees. Instead, large fees are paid annually by broadcasters (such as television networks and radio stations) to performing rights organisations such as ASCAPBMI and SESAC in the US and the PRS in the UK, who then distribute income among their members. To ensure it is distributed fairly and accurately, most broadcasters are required to keep note of what music they have broadcast and for how long. This information is then used by the performance societies to allocate income to their members. Typically, a library will receive 50 percent of the performance income (this is known as the publisher’s share), with the composer receiving the remaining 50 percent. Like license fees, performance income is highly variable and dependent on the nature of the usage; local radio usage will yield modest income whilst repeated use in a primetime network TV show can generate significantly more.


What if DMS like your music?

We then send our standard deal for you to review. The songs become exclusively signed to DMS but you are non-exclusive as a composer and free to write and release music anywhere else.

Once music is signed you deliver 24bit Wavs and 320kbps mp3’s that we then service to our sub-publishers.


Contact us with your submissions and for further info –  info@musicsolutions.org.uk



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