Take your time browsing the library of music and sounds by categories and feel free to listen and sample full-length previews of all tracks.
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Composers and sound designers are invited to join Audiobank.fm. Simply submit original audio works to the library. Composers and music artists earn a generous 40% to 60% on the sales of their soundtracks. Please feel free to send submissions to email@example.com.
Given that many rights can be exercised over a music track, adding music to video productions or websites is not an easy thing to do.
Royalty free licensed music, free of ASCAP fees, was created to address this reality. All you need to do is pay an entry fee (purchase of the musical work) and you can distribute your end product as many times as you wish, without worrying about paying royalties to the author.
These musical creations, of variable lengths, can be used in web flash animations, java or html5, in corporate or training videos on CD or DVD, in educational films for schools or museums, in elevators, in television productions and DVD releases, in shops (hairdressers, waiting rooms, etc..), in video games and games for mobile phones (iPhone, Android, Nokia etc ...)
Also, some royalty free music is specially composed to be played in loop mode, for games on mobile devices where RAM is limited, or in the case of looped animations (for example, a demonstration of a rotating room in 3D) for kiosks placed in museums or public places ... The applications are numerous.
The internet facilitates the global connection of information and individuals. The "network of networks" has profoundly changed the map on how we go about exchanges of text, images, music, videos.
For music as for other forms of artistic expression, each country has its own management system for intellectual property rights. In the US, the ASCAP ensures the rights of artists, authors, composers, performers, and sound editors, when they are signed under a record label and their works are distributed in the US and abroad.
Today, the Internet allows artists to broadcast themselves, without necessarily needing a record company or even a label. Artists can choose to distribute their music free of charge, while devising new sources of revenue other than the classic "buy my record or my mp3".
At the beginning of the internet, this new reality was not recognized by music industry governing associations in individual countries, and some of them went so far as to prohibit their members from broadcasting their own music on their official websites.
Frustrating complications and inadequate laws and policies were some of the reasons that pushed a new generation of composers to self-publish on the Internet while opting for alternative licensing schemes like Creative Commons or Public Domain.
In the late 90s with the emergence of Internet access in homes, artists began to publish themselves without going through a record label, and to group together under non-commercial labels, that had no legal or commercial protection or status. This is known as the famous “indie” community and its "netlabels".
The motivations of artists to publish independently are varied: some seek to make a name in the "underground" community before signing with a commercial label, others believe in independence pure and simple and would not change for anything in the world. All are in agreement about wanting total artistic freedom and greater control in the distribution of their music and their communication.
Another non-negligible aspect of self-management for these artists is the opportunity to pocket the majority of revenue when there are sales. Bypassing the traditional record companies, producers, labels, ASCAP fees, mechanical duplication rights and physical media manufacturing costs, independent publication on the Internet eliminates the middlemen between the artist and his audience.
Furthermore, when the artist sets up a direct sales solution on his site, he/she is able to pocket almost all of the sums paid by customers, where by contrast, the big sales platforms like iTunes or Amazon take a significant share of sales.
A new economic model could define music use in the future.
The artist is in direct contact with his/her public.
Music downloads are free for personal use under Creative Commons licensing.
No more pirating, but rather global sharing.
No more nuance between downloading and streaming, both methods are fully permitted and encouraged.
No more marketing territories, therefore no more conflicts regarding territorial zones and selling rights.
Public shows its support for the artist by making donations or by purchasing the merchandising of the artist (records, t-shirts, posters, packages…) and concert tickets: the artist receives most of the proceeds from these sales.
The artist joins one or more royalty free music sales sites, like Audiobank.
Content producers (video production, websites, video games, games for mobile phones, radio, DVD…) buy royalty free licensed music from special sales sites.
The sales sites pay the artist his/her agreed upon percentage of sales proceeds.
This new model encourages the spread of free music for private listening, while at the same time encouraging the commercial use of royalty free music by marketing content producers.