![]() Like license fees, performance income is highly variable and dependent on the nature of the usage a local radio usage will yield a very modest income - perhaps a few dollars each time it is played, whereas repeated use in a primetime network television show can generate many thousands of dollars. ![]() 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. ![]() This information is then used by the performance societies to allocate income to 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. Instead, large fees are paid annually by broadcasters (such as television networks and radio stations) to performing rights organisations such as ASCAP, BMI, and SESAC in the US and the PRS in the UK, who then distribute income among their members. The producer of the show or film that has licensed the music does not pay these fees. * Performance income (or performance royalties): Performances income is generated when music is publicly performed - for example, on television or radio. In the US and elsewhere, libraries are free to determine their own licence fees. In the United Kingdom, license fees for production music are nationally standardised and set by the MCPS. In the US, it is more common for a composer to be paid a work-for-hire fee upfront by the library for composing the music, thus waiving his/her share of any future license fees. Some libraries, especially in the UK and Europe, split these fees with the composer of the music. These fees can range from a few dollars for an internet usage, to thousands for a network commercial usage. * 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. The business model of production music libraries is based on two income streams: APM, the largest US library, has over 250,000 tracks. Another music library was set up by Ralph Hawkes of Boosey & Hawkes Music Publishers in the 1930s. ![]() The first production music library was setup by De Wolfe in 1927 with the advent of sound in film, the company originally scored music for use in silent film. Music libraries vary in size from a few hundred tracks up to many thousands. Production music libraries will typically offer a broad range of musical styles and genres, enabling producers and editors to find much of what they need in the same library. Production music is therefore a very convenient medium 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. This is because virtually all music created for music libraries is done on a work for hire basis. Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, music production libraries own all of the copyrights of their music, meaning that it can be licensed without seeking the composer's permission, as is necessary in licensing music from normal publishers. Production music is the name given to the music owned by production music libraries and licensed to customers for use in film, television, radio and other media.
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