Stock Music is an affordable alternative to the use of well-known music in a promotional film, corporate video or commercial spot.
It has been produced specifically for the use in audio and audiovisual productions. Stock Music is also very often used as background music in stores, hotels or airports. The Proud Music Library offers licenses for sound systems to use the music as background music.
In the past stock music was delivered on CD in the Red Book audio format to allow easy cueing and rapid synchronization. Today, simple download a stock music track online. The most tracks that are provided by stock music libraries are registered with a collecting society, for example, ASCAP, BMI, SOCAN, PRS, SIAE, PRS and APRA. For this there are extra fees for the public performance or mechanical reproduction.
Start to search directly here:
In the Proud Music Library you will find plenty of royalty-free stock music. About 1/3 of music (about 10,500 songs, Feb. 2018) is completely royalty-free stock music (PRO-free) and as such also featured.
Instrumental rock was most popular between the mid-1950s to mid-1960s. In this decade Surf music was very popular.
Start to search for instrumental rock music now:
Many rock guitarists were influenced by The Ventures’ precise guitar work. In the 1970s Progressive rock and art rock performers featured virtuosic instrumental performances. One of the best-selling instrumental albums ever, with 16 millions copies sold is Tubular Bells by Mike Oldfield, released in 1973.
ArchiveMusicismusic that isproduced specifically forthe soundtrackofindustrial films, television and feature films, commercials, etc. In principle, publishers of archivemusic like the Proud Music Libaryassist in theselection ofappropriate music. For this reason the Proud Music Library established a awesome search engine to find a piece of music very fast and to license this music track for commercial projects.
Our fast search maschine to find archive music tracks directly:
For the term archive music is often the term stock music used. In the Proud Music Library you find roundabout 30,000 tracks of archive music (Feb. 2015). Some tracks are not registered with any domestic or foreign collecting society. These tracks are marked as “completely royalty-free music”, which not means “music for free” or “free music”.
#To download royalty free music for free, please create an account in our Proud Music Library. Then you can download all tracks from the Proud Music Library, to test them in your project or to introduce some tracks to your customers. The download will costs you nothing. The mp3 file has also no beep! However, the quality is a reduced to avoid abuse. Do not use a track without a Proud Music Library License. Be fair!
This license “TV-Broadcast” in the Proud Music Library isexclusivelyfor producers ofTV productions, such as Television series, editorials, news broadcasts, TV documentaries. Furthermore, the TV-Broadcaster has to have a agreement with his local collecting society.
1. If a film was produced for American TV broadcaster like ABC, CBS, NBC or PBS, the license is for free use (0.00 USD), if the sender fills out a registration form (cue sheet) and delivers it to the ASCAP and to us.
2. If a film was produced for a British TV broadcaster like BBC the license is for free use (0.00 USD), if the sender fills out a registration form (cue sheet) and delivers it to the PRS and to us.
The license is ONLY valid for the use of a work for TV-Broadcast and TV-Commissioned Productions AND ONLY for Royalty Collecting Society (e.g. ASCAP, PRS, SIAE, GEMA, STEMRA, etc.) licensed TV stations! The Online usage for IPTV & VOD is included. It is required to submit a Cue-Sheet (!) to the TV-station AND Proud Music.
The license is NOT valid for other usages, like web or for Youtube or other video platforms, also facebook.
For details, please contact us via Mail firstname.lastname@example.org
Yes, the Proud Music Library do offer the opportunity to try out free downloads of tracks. The quality of a mp3 file is 56 kpps. To download a track without a sound signal, please get a account for free. The useof a songwithout a licenseconstitutes copyright infringementand is prohibited.Even thoughthe songsare provided as afreedownloadavailable, they may only beusedin public or online whenalicensewas purchased.
The Proud Music Library was founded in 2004 in Germany (Europe). Currently we have a content of more than 26,000 tracks plus more than 16,000 loops, edits and stingers. We also offer licenses for completely roaylty free tracks, where the composers are not registered with any collecting society. Please feel free to check our new search engine.
Reinhold Poehnl is one of the most versatile composers I have had a chance to interview. All you need to do is search his name, and you come across an array of compositions that range from classical to jazz to hip hop. Every piece is clear and precise. Following, find out what has contributed to shaping this multi-faceted personality.
PM: When did you discover your love for music?
Reinhold: Maybe it was at the age of 5, when my older sister had her first piano lessons and I was allowed to stand next to the piano.
PM: If you were not a musician, what other path would you have taken?
Reinhold: I am excited about photography, and maybe this would have been my alternative choice. I am also interested in mathematics. There are so many fascinating paths other than music! There is: science, physics, computer graphics, parachuting…., but I think, I never would have become a lawyer or a business manager.
PM: Do you have a favorite composer?
Reinhold: There are, first of all, of course, the three greatest of all times: Bach, Beethoven and Mozart. Nevertheless, there is unimaginably much more music now. If somebody is going to buy a luxury car, it is possible to get some kind of market overview before you do, but when it comes to music, several lifetimes are not enough to browse through the existing music. And every day there is new music. So let me name a few artists or composers I like: Astor Piazolla, the Beatles, Prokofiev, Ravel, Debussy, Count Basie, and Skrillex. It might not make sense because they are so many and so different.
PM: How would you describe your style?
Reinhold: My style is varied. I write and produce very different music. Above all, I like colorful harmonies and surprising changes. I enjoy trance and techno, as well as creating a traditional polka, which then takes a not-so-traditional turn. I like experimenting because I’m inquisitive.
PM: Is there a musician who has influenced your style?
Reinhold: There are countless. As with the question regarding a favorite composer, there are too many.
PM: When did you start composing?
Reinhold: I started soon after I began to play the piano. Of course, that could not actually be considered composing.
PM: Do you write, play, and produce all your pieces?
Reinhold: I write, play and produce, and together with other instrumentalists as well. There is also music which I have written for other performers, such as a string quartet, or music for accordion, or short piano pieces for students. There is a great deal of music I have written that has been performed by others, but which has not been recorded yet.
PM: How many pieces have you written?
Reinhold: More than 500 so far, although I’m certain there will be more. I must admit, some pieces are just for mass production, like musical wall paper, but there are some pieces which I consider little jewels and take a little longer to write.
PM: Do you play an instrument? Which one(s)?
Reinhold: My main instrument is the piano, but I have played the viola for many years, I had to play the unavoidable recorder in elementary school, I still play guitar, and I also have some experience with drums. I have tried the accordion, the upright bass, and the timpani. I have played the traditional organ at church service, as well as a Hammond organ when performing jazz and rock. I have yet to master any of those, except maybe the piano. Still, the experience with so many different instruments, in my opinion, has been quite useful.
PM: What is a normal day like for you?
Reinhold: I am lucky, I think. Most days, when I am not traveling, I can just do what I feel like. Apart from writing, creating and producing my own music, I also work as a freelance musician for Yamaha, producing musical content or training new members. Last week I was sent to a place near Marseille to train a French musician on how to create musical content data. My job is to explain the technical details to make that musical data work best on a particular (digital) instrument. Yamaha wants local specialists to create musical data to perfectly fit the local taste and demand. For these projects I have traveled to Turkey, Spain, Serbia, Bulgaria, Greece and the USA, among other countries. The interaction with musicians from different parts of the world and cultures is very exciting, interesting and inspiring to me. I also love to explore the local cuisines and enjoy trying new food, new spices, and experiencing new impressions.
PM: Do you follow a ritual when you write your music? Do you take special measures?
Reinhold: No. Most of the time, I have music paper and a pencil with me; whether I am on the beach or on a train, and certainly, next to the piano. I take notes, write songs, and I have plenty of music notebooks filled with ideas that have not come to fruition yet. I browse through these notes and check and compare once and again. At times, I just sit and play and I start to develop a piece of music based on a kind of improvisation or a spontaneous idea.
PM: What advice would you give someone who is thinking about becoming a composer?
Reinhold: On the one hand, there is the creativity, the genius, the divine inspiration, the unexplainable, which probably cannot be learned or trained. I am not sure why, it is just so. Then, there is also the basics, the craftsmanship, the knowledge about music theory, harmony and all the stuff found in music books. I think it is a good idea to learn what is learnable, and to hope to just have that special something.
PM: What would you say is the hardest thing about what you do?
Reinhold: After having composed, performed, recorded and produced a piece of music, it is hard for me to find a suitable name for it. I am not good at finding catchy titles, so I share the music with my daughters, or I play the music for my wife and I ask for their feedback and suggestions. Most of the time, they have nice recommendations I would never come up with.
Recently, we had the pleasure to interview Proud Music’s exclusive composer Frank Herrlinger. He spoke with ease and excitement about himself and his work without even once stuttering or doubting, he exhibited a confidence uncommon for a young man his age (Frank is 30 years old).
PM: Thank you for agreeing to this interview, Frank!
Frank: The pleasure is mine. It is so nice to finally meet you! I have always loved music, and I like to talk about music! I guess that I grew up with music. Both of my parents had musical education, so they naturally introduced me to it and offered me the opportunity to learn to play different instruments. This might sound dumbfounding, but the first instrument I picked up was the accordion….Yes, I know. It does not sound like the instrument a young child would want to learn to play, but I actually did. And I stuck to it for three years. Then, an appeal to pop music diverged my interest to church organ and keyboard. I was attracted to the bombastic sound of the instruments and what you could do with them, and I ended up playing both of those for five years. But as a teenager…these are instruments that a teenager does not consider “stylistically right”, so I turned to electric guitar because at the time, I preferred metal and pop rock. It seemed natural to form a band at that age, and some friends and I did. The band existed for ten years, and I played solo guitarist.
PM: Do you have a favorite composer or a composer that you admire?
Frank: Well, that is actually a difficult question because I do not have just one composer that I like, but many.
Frank: Yes, and they are actually from the film music field. I admire them all for different reasons. One example is Thomas Newman, the composer of American Beauty. He uses many rhythmical and stimulating elements in his music, and he accomplishes it without a loud melody. Now that is admirable! There is also John Powell. He composed the music for How To Train Your Dragon and Ice Age. He is completely different. His melodies are loud and catchy, and you find yourself whistling them. When one of his songs starts, that happens often. It is the kind of music that is written for children because it is repetitive. Another one is Hans Zimmer, who has composed soundtracks for movies such as Pirates of the Caribbean. He has the ability to convey emotions in movies outstandingly well.
PM: And what about musicians?
Frank: Musicians? Not really.
PM: No singer or instrument player…
Frank: No, because I don’t really see myself as a musician, rather as a composer. I have paid more attention to composers. In fact, Frank has enjoyed learning from well-known arrangers in the past, submitting his pieces to them, and asking for their advice. They include David Bloomberg (Jackson 5 and Stevie Wonder), and Glenn Jordan.
PM: When did you start composing?
Frank: I actually started composing while I was still studying, around 2003-2004. I started writing music because I like music, and not because I thought I would be making a living from it. Now, I didn’t follow the classic path, because truth be told, a director and a composer don’t speak the same language. I like composing and I think it is important and good to share what you know. For that matter, I have a blog about music production (http://composerfocus.com/page/6/). Whenever something finally dawns on me, I feel the need to share it with others. It might not offer others an answer, but it might help them find a solution to their particular problem. A person has to be able to modify ideas.
PM: Yes, I know what you mean. There is a great deal of information out there, and yet, there are times when the information we are looking for cannot be found. Luckily, blogs are not only becoming a trend, but also a means of finding that information. Nevertheless, there are cultural differences that keep people from sharing information. Do you think this obstacle could be overcome?
Frank: Of course! As I mentioned, sharing information as a composer does not mean that anybody can plagiarize me. In fact, I work and rework my pieces experimenting also with virtual tones, so I know that my style cannot be imitated. Sharing information is intended to help others find a solution to problems they might encounter when composing themselves.
PM: I have been listening to your work on the Proud Music Library and on YouTube. Your style is often described as “epic”. How would you yourself describe your style?
Frank: Yeah, “epic” is fun, but I would not describe it as “the Frank Herrlinger style”. If I were to play my style, I think that more rock and romantic ballads where you would hear a more emotional devotion with an acoustic guitar would transpire, and not epic music. It is good to have many sides and try different styles, not just one, because music is a craft. Creative phases are always different. It changes constantly, and in this business, it also depends on the client, from the style he requests. Still, it is important to be true to yourself and others. I guess you could say that my style is what I enjoy listening to, what I like right now. And I am certain that it will change in five years, and that is okay.
PM: Do you write, play, and produce all your work?
Frank: I am not always a “one-man show”. I compose my pieces myself, and I often mix and polish them myself, as well, but it also depends on a deadline and how fast I have to produce my work. I sometimes engage the support of other composers who are ready to help. I cannot play every instrument myself, even though I play the guitar and the drums, and program tones on the computer. But live professionals play instruments such as contrabass and ethnic flutes for a fee, of course, and how they play… the sounds that emanate from those instruments! And cooperation is fun! I never work on paid contracts by myself. I always enlist the help of others. The song turns out better when you engage other tone engineers and musicians. And there is never a budget issue. Nobody works for free. May I add something?
Frank: One more thing I do and I actually enjoy doing is marketing myself. You attend school and learn about music, about composing, and what nobody tells you is that you will be unemployed after you are finished with your studies. How do you market yourself? Nobody teaches you how to. In my case, I see myself as somewhat of a businessman. It is a game to me, a game where you need to know the rules, where sometimes you win, and sometimes you lose. But that is not bad, since there is always a new game to play. Part of the game is finding out what is marketable. Even with licensed music, you have to find a market for it. Nobody tells you what to write; you have to have a feel for it. What is mainstream is fun because it is what sells, and what is not or is too innovative will only be known after one’s death. Those who see themselves as mainstream musicians do what they like, and also what sells. I see myself as a mainstream composer; I am not interested in becoming famous after my death.
PM: Some artists like Hopper kept records of their work. Do you know how many pieces you have composed?
Frank: Let me see… (counts quietly in his head). Licensed pieces about 400 and projects…I would say some 600-700 pieces. Wait: Did I just say 600-700?
PM: Yes, you did.
Frank: It is hard to believe that it has been that many! And now that I think about it, I also keep an Excel table –only for licensed pieces- of how successful or unsuccessful one of my pieces has been. I also know if the piece had edits or loops, in which quarter, and for which license it was sold. So I know exactly which styles do not work. (Laughs) I guess that is the business side of me.
PM: What is a normal day like for you?
Frank: This is a funny question because I think people expect to hear that it’s all party and rock’ n’ roll, and that would be rubbish. I actually sit in front of the computer some ten to fourteen hours a day and compose. I also have office work to do for Proud Music’s A&R, but that occupies me for a couple of hours.
PM: It sounds like a lonely job.
Frank: Yes, it is. Happily, I am self-employed, and I actually have the power to change the situation. To sit alone in a room for the next 20 years, I don’t want that for myself. I am a sociable person and I enjoy interacting with others. How can I change that? I have this idea of furnishing a house and turning it into a composers’ house. It would be a 3-4 room house, and I could sit there and work, and rent the other rooms to other composers. Then we could take breaks and visit each other and exchange ideas and benefit from each other.
PM: What a wonderful idea!
Frank: Yes, it is. I consider Hans Zimmer my paragon. He established a company based on this concept, and he works there and rents rooms to other composers. That is my goal, my career dream.
PM: Best of luck bringing it to fruition.
Frank: Thank you.
PM: My next question is if you follow a ritual when you write your music.
Frank: An actual ritual…no, I do not. I have a short deadline for most work and need to produce music in a couple of days. It’s creativity under pressure. My inspiration comes when I go for a walk. People would probably stare if I took a pen and pad, so I take an MP3 player, and I sing melodies into it (I do not sing very well, by the way), and that way, ideas flow faster. If I sit in front of the computer and wait for ideas to come, it doesn’t work that way. If the weather doesn’t allow me to go outside, I find that walking for 10-15 minutes around my 88m² apartment works as well.
PM: What would you say is the hardest thing about what you do?
Frank: The hardest thing: ending a project. I am always looking for ways to improve a song, but you have to be able to say, “Okay. Enough,” and end the song. The good thing is, that there is a deadline so you are forced to make a decision.
PM: If you were not a composer, what other path would you have taken?
Frank: Hmmm. I cannot imagine my life without music because it has always been a part of it, but I think I can narrow it down to a couple of
possibilities. Are you ready? Ok. The first one is a martial arts teacher.
Frank: Yes. While I lived in Cologne and Munich, I was practicing Wing Tsjun, a Chinese type of martial arts. Now that I live in Vienna, I couldn’t find a place where they practice the technique, so I am doing Arnis, which is a Philippine type. The second path: a physicist.
PM: You’re not the first person I hear of who relates music to physics.
Frank: Well, I believe that physics and music are connected. Physics can help you determine why something sounds good and something else doesn’t.
PM: Interesting! Now, to end our interview, I was wondering what advice you would give someone who is considering becoming a composer.
Frank: I have thought long and hard about this subject, and I have summarized it as follows: First, learn to support the project (the visions) of others. It is never about the music and the composer being in the limelight. What is important is the project manager’s vision. Second, the hired composer writes music, and this music never stands alone, as is the case with a band or a singer. Therefore, you must be nice and cooperative, and be able to work in a team. That’s it.
PM: Frank, thank you very much for your time. It has been a treat getting to know you.
Frank: Thank you!
The interview ended, and Frank returned to his work on that day: finding tones and sounds to add to a database that already comprises some 8000 30-second audio bits, which in due time will be improved and re-worked.
Corporate films are not a new concept; they have been around since the 1970s. Still, the tools to promote it have changed. Earlier, corporate films were quite expensive to produce, addressed a very selective audience, and were also shown solely to that particular audience. Nowadays, production has become cheaper and more dynamic through faster sources on the web, and corporations are targeting a more varied, widespread audience. Facebook has been key in the dissemination of corporate films because it reaches a greater audience and offers various applications that help carry out this task, so that corporate films have now become the interest of the masses… maybe. It is evident that that the making of corporate films is much easier, but whether on Facebook or any other network, corporations need to redefine their target audience.