Adam Taylor is President of APM Music, the largest production music library in the world. APM’s client list boasts an impressive array of names, from major broadcast television networks and video game publishers to the NFL, and the company offers over 200,000 titles for licensing in addition to custom scoring services. Prior to his service at APM, Taylor served in executive positions with Caswell-Massey, Goldman/Taylor Entertainment and Taylor/Fox Enterprises.
Adam Taylor, President of APM Music, introduces himself and the company he runs. He discusses what a music library is and how it makes money, how his company finds and signs artists to licensing deals, the nuts and bolts of how music gets licensed for use in media, how the growing business of video game music differs from film and TV, and how money flows from licensees to APM to the artists they represent. In addition, he shares some thoughts what skills it takes to work in the music industry (including the skills someone needs to work at APM) and the qualities that set a good manager apart from a mediocre manager.
Adam Taylor, President of APM Music, shares some reasons that his company has become one of the largest and most successful music libraries in the USA, and discusses the differences between his and other music libraries in how they remit payments to composers.
Adam Taylor, President of APM Music, discusses at length the nature of his company's relationship with songwriters and recording artists, and the works they create - how ownership of the copyright is typically managed in work-for-hire relationships, how artists get paid, and how custom licensing deals (as with the NFL and Electronic Arts) are structured. He also describes the other side of this - how APM connects artists with the clients who license music from them.
Adam Taylor, President of APM Music, discusses what qualities an artist needs to have in order to be an attractive potential partner for the music library he runs, and shares advice in how artists can take control of their own business.
Adam Taylor, President of APM Music, discusses the skills required to be a staff member at APM Music, from the musical background required to be a music director, to what qualities he prefers in members of the sales and administrative staff.
Adam Taylor, President of APM Music, discusses his own personal management style, and shares his thoughts on the benefits of being a manager who emphasizes collaboration.
Adam Taylor, President of APM Music, discusses how the “long tail” effect applies to the business of his music library. He then ties that discussion to a larger trend in the music business in which digital distribution is allowing more people access to more music, and is therefore broadening the range of music that actually gets heard and sold.
Adam Taylor, President of APM Music introduces himself and the company he runs. He explains how he came to APM, what the company does and how it's structured, and discusses at length what the function and business model of a music library is in general.
Adam Taylor, President of APM Music, discusses how APM discovers and signs new music to their network of music libraries, including direct submission by songwriters, and association with websites such as indie911.com.
Adam Taylor, President of APM Music, discusses what he and his company take into consideration when determining the cost of a license for using one of the works they represent.
Adam Taylor, President of APM Music, discusses two very different revenue streams for his company - the relatively new strategy of licensing ringtones, and the tried-and-true strategy of owning and licensing the theme music to sporting events like Monday Night Football, Wimbledon, and the US Open.
Adam Taylor, President of APM Music, describes what synchronization rights and performance rights are and how they apply to the performance and broadcast of recorded music, and how performance rights organizations collect fees and pay artists their share.
Adam Taylor, President of APM Music, discusses his company's role in creating music for video games, and how it differs from their partnerships with film and television - in specific how the service that music libraries provide allow game developers to include dozens or hundreds of short pieces of music in a game or film without needing to compose it, hire a band, find a singer, record it, mix and master it, and cut it to size all on their own. He also discusses how the business his company conducts with game developers differs from their relationships with film and television producers.
