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Frequently asked questions
We believe that in working closely with our composers in a language they understand, and making them a true part of the team, we can achieve great things. Production music is released in vast quantities but we aim to raise the quality bar. We believe that through collaboration and expertise, we deliver a catalogue of music that excels in terms of production, composition, and commercial viability.
We believe that in working closely with our composers in a language they understand, and making them a true part of the team, we can achieve great things. Production music is released in vast quantities but we aim to raise the quality bar. We believe that through collaboration and expertise, we deliver a catalogue of music that excels in terms of production, composition, and commercial viability.
To submit please either go directly to the brief you have worked on and fill out the online form linked; providing shareable streaming links to your music. Alternatively you can send general submissions by filling out our online form.
We will review tracks and may have some feedback for you, requesting some changes that we feel would strengthen the chances of your music being used. All feedback is intended as constructive.
If you are unable or unwilling to make changes then we may elect not to publish the track. In order to avoid a lengthy feedback process please address all changes requested and submit tracks that are as complete as you can possibly make them rather than demo quality.
Before submitting, we ask that composers carefully read the briefs before submitting. Check that you have read the submission guidance we send out with our briefs. Be aware that if your track is accepted you will be asked to create various edits for final delivery.
For all tracks that are accepted and released by Lightsong (after any necessary development), the writer(s) must be members of a PRO (performing rights organisation) in order to be paid when the track is licensed and/or broadcast. So please don't submit music unless you are a PRO member, or you have applied to one.
When production companies, filmmakers, advertisers etc want to include a production music track in their radio or tv show, film, advert etc, to do so they need to buy a licence. A license fee can vary depending on the usage - from a small online client to a worldwide advertising campaign. You can see the full fees and breakdowns on the rate card.
On a track-by-track basis, we are exclusive. Don't submit a track that you have used elsewhere, and once a track is signed and published with us, don't use it anywhere else.
Composers are completely free to work with other labels and libraries on other works too, but the works published by Lightsong must be done so exclusively.
It is not possible to keep track of every single music usage as it happens. We do monitor UK & European tv channels and if we spot a noteworthy placement we will do our best to inform the composer as any big sync will be promoted on our ‘music use’ page.
Beyond that, the main way of knowing whether your music has been licensed is when you get paid. Either directly via our mechanical payments, or your PRS statement (see payment schedule).
In this field we have all faced rejection! Please don't let it dishearten you. We simply cannot respond or give personalised feedback to unsuccessful submissions, due to time constraints, but to give you an idea of some of the most common reasons we might not choose a track to develop and include.
Often, we hear musical ideas that show great potential, but the production is clearly not going to reach a commercially-releasable standard quickly enough - or vice versa: fantastic production but no great ideas. Sometimes we love a track musically and sonically, but it is just not on-brief enough, or doesn't sit well in the lineup with the other tracks for the album.
Best to go away, evaluate why it may not have been accepted and don't let it deter you from submitting tracks again in future. You can listen to the rest of our catalogue and A/B tracks against your own to make sure the samples and production is up to the standard we need.
This may be for a number of reasons. The first, and the one neither of us want to hear, is that it may just not have been used yet. Being released is no absolute guarantee of income, and unfortunately this can happen.
Another reason may be that it has been used, but the next PRS or MCPS distribution to cover the usage period has not happened yet, or PRS are waiting on the client to deliver the cue sheet to inform them of usage. We use a number of methods to track usage ourselves but they can often take time coming through.
Production music is long distance, not a sprint, and it may be a while before the royalties start coming through. Please be patient and know that Evolution and our global sub-publishers are doing everything we can to promote your music.
PRS/MCPS payment schedule. We only benefit if you benefit so we do all we can to make sure your music has the best chance of being used.
That's fine. In striving for the creative best, decisions aren't binary and there is often healthy bit of pressure! Music is subjective and we all have different reactions. We do ask, though, that you have faith in the experience of the team - both musically and commercially - to shape the tracks towards the best appeal for usage within the current trends of TV productions. We are only giving you the feedback because we all want the best outcome for the track.
A cutdown is a specific length alternate version of your full length track. When we release an album we include these alternate versions along with the main track: Underscore (usually a sparser mix of the main version with the main melody removed - very appealing for use with voiceover), 30 second version, 60 second version, and sting. Don't worry about these until you have received a contract - but well-formed, impactful 30s and 60s in particular have great usage appeal as off-the-shelf solutions for commercial and TV promo editors.
All over the place. As well as here in the UK, we have distribution in Japan, Brazil, South Africa, Germany, France, India, Australia, New Zealand, and many more! Your track could be used on anything from a Mexican soap opera to a Singaporean game show. TV, Film, Ads, Video Games, Idents, Trailers, Promos - you name it!
Royalty payments to writers are generated in two ways. The first from your music being licensed (mechanical), and the second by your music being performed or broadcast (performance).
You need to be a member of a PRO (performing rights organisation, such as PRS here in the UK) in order to be paid.
For a general overview, this will help:
http://www.prsformusic.com/creators/helpcentre/pages/whatwedo.aspx
A performance royalty is money generated every time a piece of music is performed publicly. This could be on the radio, a television advert - anywhere a person could hear it. This money is collected by your PRO and paid to you directly via them, which is why you must be a member of one to earn anything.
A mechanical royalty is money generated when a piece of music, or a licence, is sold.
You need to be a member of a PRO (performing rights organisation) so you can get paid when your works generate royalties. There are different PROs in each country, such as:
Australia - APRA
Germany - GEMA
Italy - SIAE
Japan - JASRAC
Spain - SGAE
UK - PRS
USA - ASCAP, BMI, SESAC
You should be able to find your country of residence’s PRO online.
A copy of our standard contract can be found here: Lightsong Music Production Contract
Our terms, offered in respect to released track(s), are:
- Performance and Mechanical royalties received: 50% to writer(s), 50% to publisher(s)
- Copyright is owned exclusively by Lightsong Music Production or one of our affiliates
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