Please Note

Newbie Info

As MLR attracts more and more newbies to the music library world I’ve collected various posts that deal with recurring questions. Please check these links first! Continue reading

Specific music library questions/comments

Just a reminder that the forum is not a place for any specific music library related questions or comments except for here (subscription required). Please ask them under a particular library’s listing. It’s the only way to build a knowledge base of composer’s experiences. Any forum references to a particular library will be deleted.

CWR (Common Works Registration) 101

by Abby North

One of the greatest obstacles music publishers face in royalty collections is proper and comprehensive registration of all their works. Register

Within the United States, there are several performance rights organizations (PROs), two of which (ASCAP and BMI) expressly allow publishers to register works by providing data files using Musicmark’s Electronic Batch Registration (EBR) standard. SOCAN, the Canadian PRO also accepts EBR files. Continue reading CWR (Common Works Registration) 101

InDigi Music Review

by KM


In 2014 I was an aspiring hip hop artist. I also made my own beats. I played a few shows in my area and soon realized that my area lacked people who could help me take my music to the next level. The only huge hip hop artists from Seattle are Macklemore and Sir Mix-A-Lot. This was very discouraging so I started doing research online in hopes to share my music with folks in the industry. During my research I stumbled across a website called I paid for an account and began submitting my songs to the opportunities section which included sync licensing opportunities. A few months later I received an email stating that my music was selected for licensing consideration by a music library by the name of InDigi Music.

After my music was selected I was hesitant because I didn’t know anything about publishing. I spent some time doing research and in July of 2014 signed my first exclusive agreement with InDigi. InDigi requested that all of my music be sent with full metadata including themes, instruments, descriptions, moods, and publishing info. I sent 4-6 songs for my first batch and later in March of 2015 sent some instrumentals. 9 months later in December 2015 I landed my first instrumental placement on the TV show MTV True Life. I was very excited and at this time had already given up on being an artist. After my first placement I was inspired to continue my music career not as an artist but as a music library composer.  Funny enough I landed my first song placement in the major feature film Almost Christmas 11 months later in November 2016. I took my family and friends to see the movie and my song was played for 50 seconds while introducing a new character who drove up to pick up his friend from his house. In February 2017 I also landed one of my instrumentals on Telemundos Titulares y mas.

During 2017 I would focus less on batches and more on specific quick turnaround submissions.

I couldn’t seem to get consistent placements with InDigi probably due to my mix quality and not pitching to enough specific projects. As for my relationship with InDigi Music I have made several music friends through InDigi. All of my placements so far have been through InDigi music. To date I have about 60-70 tracks with InDigi and three have been licensed. I have made in the low 4 figures since I started in 2015. InDigi always replies within 3 business days and has been overall a pleasure to work with. All of my tracks that have been used are Hip Hop.

I would only recommend joining InDigi music if you make hundreds of songs with vocals a year since that is their specialty. I think my genre is not the focus of InDigi Music but alternative and rock music seem to be placed more frequently. InDigi Music is only exclusive and is better suited to those who can mix their own vocals which I cannot. Despite my disadvantages I was able to have some success but if you are somebody who engineers and writes InDigi is the right place for you. I hope this helps!


Composer Interviews – Earn Free Access

One of our subscribers pointed out that the composer interview section hasn’t been updated in a while. To be included you must have some experience in the field and you must be earning at least 5 figures annually as a production music composer (we have enough interviews at 4 figures and under). The interviews will always be available free of charge (they will not require a subscription to access).

Those accepted will receive one month free access. If you have a lifetime membership you can donate the free month to a friend. Continue reading Composer Interviews – Earn Free Access