Review: Orchestral Tools Miroire Baroque Orchestra

that’s true but here it was more the instrumental side that attracted me. Having said that, I hope that the Domino Pro choir is better than the dreary identikit demos on their website. Not everyone writes like Lauridsen (thank God… :smiley:)

I’m sure you’ll get better and better with your own efforts as you get more into the library.


I’m new around here, so I don’t know if you are being sarcastic - but if not, yup. 1000s of composers never once opening a notation program.

I spent the last 10 years composing library music without ever doing a score. All virtual instruments all within Logic or Reaper.

Also, I know from a developer friend, a lot (for some devs, most) of their sales are to hobbiests and doctors and so on.

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Thanks for the reply. No, no sarcasm: I just have no idea. I would have thought that these libraries were too expensive for hobbyists.

So where is all this music being played?

Non-scripted (reality) tv. It isn’t unusual for a program like Housewives of (name a city) to use 25 or 30 short, 30 second to 2 minute cues an episode. These are all done without live musicians (90% of the time) using midi mock-ups. I know a couple media composed who don’t read music at all let alone produce notation.

A lot of music in advertising no longer use live musicians - so don’t require a score. YouTube, Sports, even some trailers use midi mockups. Once you get away from movies and shows with named composers (so most everything on Cable: Bravo, TNT, A&E, Discovery, History, Food Network….), tons of music is produced in the DAW. Famously, The Simpsons fired Alf Clausen and use “custom” music from a library, Bleeding Fingers. I don’t think they are writing original music anymore for the episodes ( I may be wrong - but certainly the music is not nearly as clever as it once was).

I don’t espouse watching family guy because some of it really is quite offensive, but one thing I have always admired is the music. They clearly employ (or used to anyway; it’s been years since I’ve watched it) big bands / orchestras for a lot of what they do.

Side note: Seth McFarlane’s Christmas album is quite good.

Interesting. I would have presumed the work was still sewn up by a handful of people with connections to TV and Ads, even if computer-generated.

So you write something, send it off to the library and hope someone picks it up? Did you earn much?

An epitaph to writing original music?

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No, there are 1000s of composers working for Libraries, hundreds of libraries and new libraries being started every day by composers - some names you may recognize, many you wouldn’t.

That’s about it. Sometimes you get a brief for a particular production company looking for a particular style/show. Often you work in generalities - we need more Tension cues, more Dramedy cues…The better libraries have a sales staff with relationships with the production companies which is very helpful.

Not really, to be honest. It allows me to work from home rather than move to a Major market (LA or NY) and I have written a lot of music in genres I wouldn’t have done. I’ve had some really nice placements in the past that paid pretty well.

YouTube and Spotify are the real killers. I get hundreds of lines on my statements for fractions of a penny. Seriously, I just did an audit - many lines of income of $0.001 for a placement. Now, remember you share that with the Publisher 50/50 :open_mouth:

I think the days of making good $$ doing just library music are over. Too many people writing music and placing it for pennies forgoing any backend payments. Networks (Discovery being the worst) being greedy and demanding Composers give up half of their writers share for a placement. It doesn’t look too good from my viewpoint. I wouldn’t want to be just starting out.


the note attacks sound odd to me.