Manhattan Production Music: Linking Music Supervisors, Composers, Studios, NYC & LA

When to go bicoastal?

For Manhattan Production Music (MPM), that time is now. Based – where else? – in New York City for over 30 years, the company has just Gone Big by establishing an LA office. But establishing a West Coast presence takes more than just setting up a shingle: recruiting the right executive talent is a must for mingling with the powerful music supervisors that populate the area.

Manhattan Production Music now extends to both coasts.

MPM chose Andrew Robbins for that key role, naming him as its new Senior Director of Film/TV Music. He’ll have plenty on his plate in LA, leveraging his relationships within entertainment, broadcasting, and media industries to place MPM Music’s large catalog of music and songs in feature films, movie trailers, TV shows, TV promos, videogames, commercials, and multi-media projects.

In total, Robbins has over 28,000 tracks of one-stop songs at his disposable, including some that come with a special advantage. As a sister company to Chesky Records, he’ll have access to audiophile-quality jazz, world and classical recordings that no one else can get. Recent success stories for MPM include films like Race: The Jesse Owens Story and Dirty Grandpa; trailers promoting hit films such as Trainwreck; TV shows including “Madame Secretary,” “Silicon Valley” and “The Big Bang Theory;” and commercials for AT&T and Toyota.

A veteran production music exec, Robbins was Director, Film/TV Music at MusicBox (2007-2015) and the vaunted Megatrax (1997-2007), securing music placements for the Best Picture Oscar-winning film Crash. Additional film music placements included Mr. and Mrs. Smith, Stigmata, Memento, Bad Santa, and Big Fish, while TV synchs included “Switched at Birth,” “Pawn Stars,” “Nashville,” “The Mentalist,” and “American Restoration.” In total, Robbins career tally of music placements in feature films, network/cable television programs, feature film trailers, and commercials is 29,000+.

MPM has placed its music in films such as “Race: The Jesse Owens Story” and “Dirty Grandpa,” in trailers promoting such hit films as “Trainwreck,” in such top TV shows as “Madame Secretary,” “Silicon Valley” and “The Big Bang Theory,” and in commercials for such major brands as AT&T and Toyota.

What are the four benefits production music offers to music supervisors, that other song sources can’t? Why does getting face to face in LA still matter? How can new artists/producers can get on their roster, and how can studios, producers and engineers get into the game? Read on for Robbins’ input, together with MPM Vice President Ron Goldberg.

Andrew Robins has been involved with production music since 1997, first with Megatrax and then MusicBox. What are the ways that the business of production music has evolved for the better in that time?

Andrew Robbins, Senior Director of Film/TV Music, is heading up the first-ever LA office of MPM.

Andrew Robbins: If I recall, there were less than a dozen Production music library companies in 1997 that were real players in music licensing.  The production music business has way outgrown the “canned music, stock music” moniker that most people labeled our business as.

Now you find major music publishers with their own production music library business.  They have come to understand the affordability, viability and constant success a music library brings to their overall company’s portfolio.

Maintaining licensing fee value for our music is always a constant situation to be aware of and to still be competitive in this market.  Overall TV music licensing fees have fallen, but trailer music licensing seems to be holding strength in fees.  There’s also so many more ways now for an artist/writer/composer to get their music licensed themselves:  Music supervisors absolutely love to find “that” next song or group and really are the modern day A&R, and music licensing is the new radio.  We all want to have that next Apple or national commercial — still, the pie is big enough for us all.

Back then, it seemed a bit like the Wild West.  Each company had its own areas of expertise, Megatrax was first known as a very successful on-air promo music library. I was brought in to assist in growing their TV in-show, trailer and film business.  In 2007, MusicBox was mainly being used in the reality/factual,documentary world of music licensing.  Both those companies, as with MPM have grown to offer so much more services for their clients then just being a music library, such as our Chesky record label and custom scoring services.

The quality of the music we produce is just as top notch as then, only now composers have the technological ability to be their own recording studios. The volume of creative music output has increased immensely, and the sound quality of the music is still of great importance to MPM.

Conversely, how has the production music business become more challenging?

Ron Goldberg: It was a lot easier when all that mattered was music quality. Now it’s all about metadata, search engine and competing against companies who don’t take long term approaches and devalue music rights by not charging for synch or charging too low.

AR: There’s more competition now, than ever, and sometimes it seems that the market is oversaturated with music/song offerings. I’m sure the production music startups would disagree, and should. Competition is always good for business as it keeps everyone on their toes. Holding value to your licensing rates is the most challenging aspect I have seen over the years.

Please explain the role of production music in terms of music supervisor’s needs – what does production music accomplish that original music from composers, or a synch licensed track, can’t?

RG: There are 4 key advantages that production music has over any other source of music – speed, convenience, instant clearance and price.

Original music and known songs simply don’t have these four benefits. When there’s a scene where music plays totally in the background, like in a bar where there is tons of other noise and dialogue, why would a music supervisor want to spend time and money trying to secure a known song or have a song composed when a library song can be available instantly to fill that need?

AR: A lot of the time, MPM is there to supplement and support the composer and music supervisor, with music/song selections that the composer would not be necessary for creating for the production. The music supervisor is the point person to get all these pieces of the puzzle in place.

The latest MPM commercial reel:

 Execs & LA

Andrew, what were you looking for in your next opportunity with production music, and what led you to Manhattan Production Music?

AR: I was looking for an established successful company, seeking a Senior Exec, who was ready to hit the ground from the start. MPM was ready to open a West Coast office and everything just fell in place.

I’ve known Norman (Chesky) and Ron for years and always respected MPM and reputation they have. We discussed and agreed that MPM, as successful as they have been, are underutilized in other major areas of the media. It’s great to have the feeling that in these areas, we’re the “New Kids” even though MPM is very established.

MPM has always been very successful and continues to be in on-air promos, sports productions, feature films, trailers and TV network in show use.  I had concentrated my career efforts in trailers, cable TV reality, unscripted, factual and  documentaries and film.

Before I started with MPM, as I was reviewing all their catalogs, I was amazed with the uniqueness and still broad ranging styles and genres and top notch quality they would bring to the cable TV world. I felt that MPM catalogs would be perfect in this area of TV programing.

I knew that MPM was doing well in the trailer world with MPM’s Empire Trailer Series and I wanted to assist them in getting well known in this area.   I also wanted to be part of a team that was truly committed to growing in areas that they were currently successful in, and becoming a powerhouse in the others that haven’t been nearly as utilized in.

I also really liked the idea of having access to their great stable of indie Artists as well as GRAMMY-Winning Chesky Records label for licensing.  Plus, they look to really ramp up the custom scoring division.

MPM just opened an LA office, which Andrew Robbins will be heading. What are the primary differences between LA and NYC today, in terms of production music opportunities?

RG: With technology it’s not much different – everyone’s workday is extended to handle both coasts regardless so location really doesn’t affect that much. Yes, NYC has more ad work and LA more film and TV, but they both cross over.

And why does it remain important to have a physical office in a major market, when everyone has phones and email?

Ron Goldberg is Vice President of Manhattan Production Music.

RG: It’s more for a customer service comfort for some people. Even though they can just pick up the phone or send an email there’s a comfort factor in knowing someone is available in your location.

AR: Even though MPM does most of their business by phone internet/e-mail, there’s never a replacement for that face to face opportunity.

Is MPM accepting submissions from new composers? If so, how can a composer get your attention to be seriously considered for your roster?

RG: Yes we listen to everything that comes in. However, we are still a small staff where everyone has multiple responsibilities and as such we can be up to a year behind in our listening to new material.

As such I always tell composers to email non-expiring streaming links to their best material and please be patient. We do follow up with everyone eventually.

What advice do you both have for producers/engineers/mixers/studios who want to benefit from the production sector – how can they get involved?

RG: Start by partnering with someone who is already in the door as a co-writer, ghost writer or session player and then use that to build a nice reel and eventually spin off on your own.

AR: Do your homework, don’t try to be an “everything” composer, find “your voice” in composing that will stand out and still have wide licensing possibilities

Finally, Andrew and Ron, what’s one of your favorite music-to-picture moments (recent or classic), and why?

RG: By far it’s “Stuck In The Middle with You” in Reservoir Dogs – it just fit perfectly. I’m also a little biased as we have a Beethoven cue in the funniest scene in Austin Powers – where Mike Myers is naked except for casually moving between objects in his apartment as the song plays – it’s classic.

AR: Bernard Herrmann’s score to North By Northwest – I’ve always found this music so woven into the fabric of the film. I love the rousing main thrilling theme that also runs through the film. But, also quite subtle and sometimes funny moments when the score needed to be.

— David Weiss is co-author of “Music Supervision: Selecting Music for Movies, TV, Games & New Media.”

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