专辑风格： Trailer Muisc/Epic
Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, music production libraries own all of the copyrights of their music, meaning that it can be licensed without seeking the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a work for hire basis. Production music is therefore a convenient solution for media producers—they can be assured that they will be able to license any piece of music in the library at a reasonable rate, whereas a specially commissioned work could be prohibitively expensive; similarly, licensing a well-known piece of popular music could cost anywhere from tens to hundreds of thousands of dollars, depending on the prominence of the performer/s.
Production music libraries will typically offer a broad range of musical styles and genres, enabling producers and editors to find much of what they need in the same library. Music libraries vary in size from a few hundred tracks up to many thousands. The first production music library was setup by De Wolfe Music in 1927 with the advent of sound in film, the company originally scored music for use in silent film.
Library music is frequently used as theme and/or background music in radio, film and television. Well-known examples of British TV series whose themes were sourced from library catalogues include Ski Sunday ("Pop Looks Bach" by Sam Fonteyn), Dave Allen At Large ("Studio 69" by Alan Hawkshaw), Mastermind ("Approaching Menace" by Neil Richardson), the original theme for the BBC's Grandstand ("News Scoop" by Len Stevens), Crimewatch ("Rescue Helicopter" by John Cameron) and Grange Hill ("Chicken Man" by Alan Hawkshaw). Arthur Wood's "Barwick Green", written in 1924, still serves as the theme for long-running BBC Radio soap The Archers. TV comedy series such as The Benny Hill Show and Monty Python's Flying Circus also made extensive use of production library cues (many sourced from the De Wolfe catalogue) as background or incidental music.
American television has also utilized British library music, most notably with the themes for Monday Night Football ("Heavy Action" by Johnny Pearson) and The People's Court ("The Big One" by Alan Tew). Another notable example is the Nickelodeon animated series The Ren and Stimpy Show, which used both well-known classical music excerpts and a wide range of pre-1960's production music cues -- including many pieces familiar from their use in earlier cartoons -- which were chosen for their ironic and humorous effect.
Library music composers and session performers typically work anonymously and have rarely become known outside their own professional circle. However in recent years some veteran composer-performers in this field such as Alan Hawkshaw, John Cameron and Keith Mansfield have achieved cult status as a result of a new interest in production music of the 1960s and 1970s, notably the 'beat' and electronica cues recorded for KPM and other labels, which have been widely sampled by DJs and record producers. In recent years some of these British musicians have given public performances of their classic compositions under the group name KPM Allstars.
03. Imperatrix Mundi
05. Hymn of the Apocalypse
06. Praetorian Guards
07. Lament for Cherubin
08. Knights of Palmyra
10. Conquest of Antaria
12. Kingdom of Avilion
13. Chimeran Empire
14. Lament for Cherubin (Stripped Mix)
15. Dystopic (Non-Choir)
16. Satorius (Non-Choir)
17. Imperatrix Mundi (Non-Choir)
18. Juggernaut (Non-Choir)
19. Hymn of the Apocalypse (Non-Choir)
20. Praetorian Guards (Non-Choir)
21. Lament for Cherubin (Non-Choir)
22. Knights of Palmyra (Non-Choir)
23. Vendetta (Non-Choir)
24. Conquest of Antaria (Non-Choir)
25. Enamorus (Non-Choir)
26. Kingdom of Avilion (Non-Choir)
27. Chimeran Empire (Non-Choir)
28. Lament for Cherubin (Stripped Mix) (Non-Choir)