Monday, 19 October 2015

Music On Hold - Licensing and Performance Laws - An Introduction

White Beetle's dedicated Music On Hold site - Get Music On Hold presents an introduction to Music On Hold licensing and performance laws.

Video Transcript beginning//

Copyright and Performance Laws

In North America and Western Europe the law protects the copyrights of composers if their works are registered. This means companies,businesses of any size, need permission to use registered music for Music On Hold purposes. Usually this permission is obtained from performance rights societies, such as ASCAP, BMI, PRS and MCPS where a license is bought relating to the size and kind of usage. 

Often, such licenses are paid for on an annual basis. Some companies may use a Blanket License that allows them to use any piece of music that is registered in, for example, ASCAP’s catalogue. Even using radio for MOH still requires permission from performance rights societies Enforcement is strict and failing to respect copyright law can be a costly error.

Music in the Public Domain i.e. Scott Joplin’s The Entertainer is no longer under copyright. As a general rule of thumb music in the Public Domain is where the composer has been deceased for over 70 years. Does this mean a company can use The Entertainer without permission? Yes and no. The rights of the composer are no longer protected but rights of the recordings are, these are called mechanical rights. Most recordings have mechanical rights, they may be owned by a record company, a publisher or an individual. Therefore permission is still required to use a specific recording if it has mechanical rights.

Importantly, MOH providers often own the rights to their music and choose not to register them with royalty collection societies. This means that they can license their music directly to businesses, usually at very competitive rates without royalty collection societies ever being involved. For example, owns a recording of The Entertainer; a one-off purchase gives a company an absolute license (for seventy five years) to use The Entertainer as music on hold. The same applies to all the music on hold for sale at

If you have any questions or would like to make a comment please do so below or via our website.

// Transcript End.

Tuesday, 3 March 2015

Get Music On Hold - Website Launch Today

Today we are proud to announce the launch of Get Music On Hold. This is a bespoke website dealing solely with Music On Hold and Messages. Get Music On Hold functions perfectly on desktops, laptops, tablets and smartphones and we feel that it will be a simple and ergonomic website for all clients to use.

Credit and Debit cards are supported, as is PayPal, but perhaps the most interesting news is we are also supporting Bitcoin as a payment method via BitPay. We support the development of digital currencies and are happy to hold our bit coins.

White Beetle Ltd has been publishing, licensing and producing music since 2005. Yes this is our ten year anniversary and we are proud to continue our work and development in an ever changing business environment.

When we first started our main aim was to synchronize music for film and television. This led us to creating a stock music library and an online royalty free music resource, otherwise known as

As time went by we had many requests for music on hold and subsequently added a music on hold library to our website Although this addition worked fine we felt that was becoming too broad in its objectives and was also becoming slightly cumbersome for the client. Enter

As a thank you for the last ten years and also as an introduction to our new website,, we are offering a 20% discount coupon for the month of March 2015: Use LAUNCH2015 coupon code to get 20% off your order!

John Milner – Director – White Beetle Ltd

Tuesday, 18 September 2012

Big Dramatic Music Scores - Volume One

I guess it is rare for Whitebeetle to release three royalty free music complilation CDs in a few days but that is what has happened and now our royalty free music CD category has thirty five CD titles. We expect this number to grow steadily in the coming months as we prepare for yet more compilation releases.

Today's release is really directed at both amateur and professional filmakers and video game producers, the title is Big Dramatic Scores - Volume One and it contains fifteen excellent music scores. In fact all fifteen music scores capture many different dramatic moods ranging from, for example, aggressive, angry, confrontational, dangerous, dark to disturbing, epic, explosive, haunting, intense, menacing, ominous, serious, Sinister and much more.

The styles also range from contemporary electronic with excellent sound stage and great percussion to more classic styles incorporating full Orchestral treatments with very sensitive and powerful compositions and movements available. The range of modern ambient, orchestral and electronic themes is breathtaking on this compilation, with a wide selection of instrumentation, sentiment and themes on offer.

To check out all the tracks included on Big Dramatic Scores - Volume One please visit For the trailer version just check out our soundcloud channel below.

Thanks everyone,  John

Monday, 17 September 2012

Royalty Free Horror Music - Two Volume Release

Hello Everybody.

just a little post to announce the release of two volumes of royalty free horror music:

Both volumes are exceptionally well produced and contain a variety of special effects, sound stage techniques and top quality instrumentation ranging from male and female choirs, excellent percussion items, full and part orchestral arrangements to modern synthesiser effects and rock guitar. Volume One contains eleven royalty free music underscores and volume two contains twelve  royalty free music underscores . Enjoy!! Horror Music Compilation - Volume One & Two by whitebeetleltd

Wednesday, 22 August 2012

Mastered music for film: musicans beware

I was reading a forum post the other on the subject of film music and how it has become poorer due to cheap computers and music software. The guy's main point was that if you spend peanuts you get monkeys. Of course in many ways he is right but there still seems to be a lot of snobbery around the written to script composers; the library composer being more of a poor country cousin. What is interesting, though is many script composers are dishing up plenty of library music or royalty free music too.

To be fair, library composers are not working to a script so cannot adjust to dialogue et al; they create general moods, ambiances etc and while their equipment maybe cheap it does not negate a composer's' musical abilities. Secondly even composers lucky enough to be working to a script will have to have pieces "ducked" in places. Ducking, if yo do not know, is automatic compression applied to one audio source (i.e the music) so you can hear one of the other audio sources (i.e the dialogue).

The digital age has changed so much for musicians and film makers alike, it seems anyone can do either these days but one idiom always remains true: the cream always rises to the top. It is not all black and white though, some library composers are really on the money and some, mainly the inexperienced fall into the classic pitfalls of trying to master their own material and even upto 0dbs (mixed down material should not go above -6dbs).

The problem is musicians/composers do not really know how to master or normalize music though some appreciate what skills are required. Sure there are plenty of plugins out there that can used for these purposes but would you give the keys of your car to a blind man?

Crucially most studios and home studios will not give you properly mastered gear, because it is not their job (it is expensive and beyond their abilities). So buying something off some website, it may sound good, it probably is good but mostly it will not have graced the confines of a pucca mastering suite where all that mud, screeching highs and exaggerated bass can be controlled and refined. Composers should be working and mixing down to 24bit/96kz. Most studios, even home studios are at least mixing down to 24bit/96khz these days... 48khz is not so common these days but in terms of mix down quality, you may occasionally get higher quality if you ask: 24bit/196 khz though the project has to started at these rates, you cannot convert up and expect things to sound better. Though it is argued that 192khz is a salesman gimmick as no one seems to hear the difference between audio recorded at 24bit/96khz and 24bit/192khz.

Properly mastered audio will playback fine on any system. If you've got pops and clicks then, as is usually the case with cheap solutions, someone has not done their job properly (remember to crossfade guys)... you need GOOD headphones to hear some pops and clicks - like some sennheiser HD 650s. That said, getting rid of them is another headache.

Bottom end is a problem as it is difficult to gauge if you do not have the right mixing environment or speakers and only a mastering engineer (the guy that makes sure your sound is good) can properly gauge and treat/control frequencies below 80 hz as well as those above. Most music producers/composers are very conservative in this area and "roll off" (eliminate) anything below 40 hz to increase headroom for where the meat is at, i,e the real punch and dynamics. You're getting low now and from there on in it is sweet and pure Sub bass which is a very technical area and knowing how to to side chain and how to use a multi-band compressor is just the start of going "down there" and getting it right, this is not for your typical film guy to play around with.

Happily though, most music does not go below 40 hz.. yeah your action film sound effects, r and b  and other types of bassy pop music and dub reggae push the super low end hard and here, of course proper mastering is utterly essential.

So it all comes back to whether the music has been mastered professionally or not. Loads of films out there have amateur recordings plastered all over them (but they've been mastered first) and they cash in on it too.. i.e the punters like that intimate lo-fi sound: and there is nothing wrong with that unless you are trying to remake "Ben Hur" or "The Sound Of Music".



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Friday, 29 July 2011

Classical Remakes CD - Volume One

White Beetle Ltd proudly presents Classial Remakes CD - Volume One. Containing 21 Classical music themes all reworked with contemporary styled production. Including famous works from Bach, Beethoven, Bizet, Borodin, Brahms, Gluck, Mozart, Offenbach, Pachelbel, Rossini, Chopin, Tchaikovsky, Verdi and Vivaldi . All titles are given a modern reworking from talented compoer/arranger Alex Khaskin. A variety of emotions and modern styles, such as pop, drum and bass, ambient, Latin pop and electronic dance music are on offer. The detail of the original versions have been highly respected and it is this merging of Classical instruments and melodies with modern arrangements and beats that makes for such an exciting and innovative royalty free music collection.

So if you have ever wondered what "Four Seasons" sounds like with a modern pop/dance treatment then look no further. The skill of the arranger/producer results in a very accomplished collection of adaptations of famous Classical and Baroque pieces. Each piece has its own web page where additional information is available on the reworking and also interesting trivia and details on the composers lives and works. From a professional perspective this CD compilation should prove an excellent addition to the media producers audio library not least for those working in commercial film, corporate film and commercial advertising.

Thanks for reading,


Tuesday, 12 July 2011

Two royalty free music CDs released today!

Today we have released two Royalty Free Music collections, the one shown above, Film Music Collection CD - Volume One (containing an eclectic mix of twelve modern film scores) and the one shown below: Lounge Jazz CD - Volume One (containing no less than fourteen very cool contemporary Lounge Jazz pieces). Both CD's contain great quality contemporary music that is eminently suitable for media producers working in film, televsion, radio, advertising, video games and the corporate world. We are really happy to present these two compilations as they both come from one of our top composers, Peter Schreiber. Media producers familiar with his work will testify to its high quality, accessibility and contemporary feel.

The Film Music Collection CD - Volume One, as you might expect is aimed at the film maker, particularly film makers fo limited means who need very high quality music at affordable price.
The beauty of this actual release is that each piece contains several different movements so if used wisely, with good editing skills, one can adapt one piece of music to several music beds.

The Lounge Jazz CD - Volume One oozes sophistication and charm and should attract the media producer in general, including television and radio advertising as well as corporate and web media producers. As ever, price is an important issue and as always we are working to offer great quality music at great prices with very interesting license options. With this in mind, our returning customers know that we suceed where many others fail. Please feel free to explore these new compilations at Thanks for now, John