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Atmospheric Time Lapse Music From The Dakotalapse Films Of Randy Halverson
Atmospheric, inspiring and dramatic music from the beautiful series of Dakotalapse time lapse films (www.dakotalapse.com). This 11 track compilation also includes an exclusive 10 page liner notes pdf (not available from other stores like iTunes, Amazon etc.)
The tracks included are Scorpio, Shadow Watch, Exodus, Eclipse, Tempest, Shadowland, Soma, Atlantis, Reflections, From An Ember To A Sun and Chrome Skies. Listen to full length previews of all the tracks in the music player above or watch the promo video on the right.
The full album plus pdf liner notes will be immediately available to download after purchase as a zip file containing all tracks as highest CD-quality 320 kbps mp3s.
Some reviews of A Momentary Lapse: Music From The Time Lapse Films Of Randy Halverson:
“Atmospheric and subtle with enough power where it counts, that’s how I would describe the collective works here.
Its intended use is for film and television, I personally use this music whilst writing my fiction novels, many albums like this tend to be over powerful for what I am using it for but Simon’s is just right, a great talent.”
PLEASE NOTE: this collection is sold here for personal listening only and does not include a license to use the music in any of your own films or videos. All tracks are individually available to license for use in your videos but the licenses must be individually purchased in addition to this compilation. You can search for any particular track you wish to license and then purchase the relevant license.
Tracklisting: Scorpio (2:50) | Shadow Watch (1:18) | Exodus (3:22) | Eclipse (2:15) | Tempest (3:43) | Shadowland (8:33) | Soma (6:18) | Atlantis (4:00) | Reflections (3:12) | From An Ember To A Sun (3:20) | Chrome Skies (6:06)
This mp3 album is also available from these websites and online stores but if you want to use the music in your video you’ll need a license which is only available here at thebluemask.com:
Cryosleep Dreams is an album of atmospheric and cinematic ambient space music from Simon Wilkinson. With a total running time of 101 minutes, these 10 instrumental tracks of ethereal space soundscapes will take you on a dreamlike musical journey to the far side of your imagination.
From richly textured deep and dark evolving drones to long shimmering dreamscapes and glistening worlds of abstract sound, this is a highly atmospheric and dreamlike musical experience.
Ambient Space Music: Cryosleep Dreams (album sampler) by Simon Wilkinson
The music is floating, expansive, spacious and non-obtrusive with no drums or percussion to distract your attention from the hypnotic moods.
Deep bass drones flow beneath sparkling atmospheric textures. Cinematic background music that’s full of slow moving ethereal pads and airy washes of sound.
The album is ideal listening for encouraging relaxation, meditation, triggering ASMR, sleep and lucid dreaming, or as immersive background music for gaming, sci-fi reading/writing and any other creative work. Also great as mood-setting music for space engine simulators. Let the rich atmospheric musical spacescapes and celestial ambience wash over you and take your mind to a deep place of focused contemplation and dreamlike visual states.
The music on this album took around 6 months to create and the track titles add a sense of narrative in describing a journey through rich worlds of sound. There are abstract themes of space travel, the evolution of humanity through technology and the psychological effects of biological preservation on subconscious dreamstates.
The full album plus bonus 12 page PDF booklet of accompanying images and artwork will be immediately available to download after purchase as a zip file containing all tracks as highest CD-quality 320kbps mp3s. The beautiful cover image is by photographer and artist Sarah Fenwick at sjfbetty.deviantart.com where you can find lots more examples of Sarah’s atmospheric photography work.
Some reviews of Cryosleep Dreams:
“One of the best ambient albums in my collection -- Instant classic.”
“I listen to this record every time I fly. Everywhere I go, I listen to this I just associate this sound with space and flight. It just captures the atmosphere of unknown that is yet to be seen.”
“Sitting in your cockpit alone as the planet before you makes way for you to see directly the light of the sun in the sector…slowly descending between the rings of a mystical planet…thinking on your loved ones in a red glowing system far away…seeing the birth and the dramatic death of a star…looking in the eyes of your handsome first officer as he/she brings you your morning coffee…it’s all on this timeless masterpiece of an album. And so much more…”
“I stumbled, upon Simon Wilkinson, after hearing ‘Cold Methuselah‘ on the Digitally Imported stream. The depth of the music intrigued me, and I sampled the entire album for effect. ‘Cryosleep Dreams‘ in short, is a bold soundtrack for those on a pilgrimage to astonishment! The CD cover-art depicts a hapless interstellar-traveler in suspended-animation, on an automated-journey, dreaming across all those long-years of deep space. Many feelings, are imparted through the sound that Simon conveys, and it’s easy to transpose yourself into the musical narrative he creates here. Everything is strange, beautiful, and intensely, epic all-at-once. ‘Binary Storm‘ was another exceptional track for me, and I immediately added-it to my ambient playlist. How I missed Simon Wilkinson, through my celestial navigations is still a mystery, that will remain unknown to me. Very few ambient artists attain this level of sophisticated production-level. But I must rank him up there with eminent superstars like: Jonn Serrie, Telomere, Thom Brennan, Dave Luxton, Meg Bowles, Chronotope Project, Jon Jenkins, and Csillagkod. This one, is a ‘must purchase’ for true fans of the space-music medium. Highly Recommended.”
“A wonderfully celestial and dreamy journey into unknown spaces (SpaceScapes). Simon allows us to drift away deep into his cosmic worlds with a delightful sense of awe. These works can lull you to sleep, calm your spirit, or fill a room with intense yet delicate beauty.”
“I really love space ambient with huge configurated textures and uplifting pads and drones. And this piece gives me food for the inner eye. A wonderfully easy and floating journey.”
“Cryosleep Dreams was incredibly mesmerizing, soothing and thought provoking to me. I work a stressful job and it was a perfect way to wind down my Friday night. I’ve searched for this type of music and it can be difficult to find. I suppose there is some stuff out there but nothing at the level of quality that Simon Wilkinson offers. It’s hard to describe music in words but there is just something about the artist’s style and the sounds he orchestrates with that I really like. I will buy the next album immediately!!”
“Being an avid fan of the genre for many years, I’ve been accustomed to some high and essential criteria to make this type of music stand out and shine the most. The ten tracks of slow transforming, drifting, peaceful and deep drone textures feature no rhythm or structure and are aptly composed.”
PLEASE NOTE: this album is sold for personal listening only and does not include a license to use the music in films or videos. If you’re interested in using any of the music from this album in a video or film please contact me to discuss licensing costs with as much info about your project as possible.
This mp3 album (minus the PDF booklet) is also available from these websites and online stores (including Bandcamp). If you want to use the music in your video please contact me for a license which is only available here at thebluemask.com:
Merging The Infinite is a new album of atmospheric ambient deep space music and textural soundscapes from composer and ambient musician Simon Wilkinson. The album includes 10 instrumental tracks (over 102 minutes) of ethereal space soundscapes and longform ambient music for deep listening.
Deep drifting drones are layered with lush atmospheric immersive spacescapes and subtly swirling synth lines to create richly textured and dark evolving worlds of sound.
Simon Wilkinson: Spindrift [Ambient space music]
The 10 tracks are longform and expansive with lots of sonic detail and character, best experienced on headphones for full immersive effect.
The music ranges from calm, ethereal and airy to dark and edgy tracks with an ominous feel. Some of the tracks have a subtle Berlin-school feel (a la Tangerine Dream) with fluttering stereo arpeggios and sequences. Influenced as always by dark atmospheric sci-fi from Blade Runner to 2001.
The album follows on stylistically from my previous ambient releases Cryosleep Dreams and Perpetual Dimensions and makes immersive background music for relaxation, meditation, sleep and lucid dreaming, gaming, sci-fi reading/writing and any other creative work.
Some reviews of Merging The Infinite:
“Merging the Infinite is a very calming drifting space ambient work that holds you in suspension in the cosmic universe. It may very well be Simon’s best of his three atmospheric cinematic space music and deep listening soundscapes.”
“I’ve been listening to Merging the Infinite for a few weeks now. Complete bliss. I am lost for words.”
Steve Glossop
“Another superb album from Simon. Each track is different -- to suit the mood you’re in. My fav is Black Prism giving the artists on Cryo Chamber a run for the money.”
PLEASE NOTE: this album is sold for personal listening only and does not include a license to use the music in films or videos. If you’re interested in using any of the music from this album in a video or film please contact me to discuss licensing costs with as much info about your project as possible.
Tracklisting: Put-Down Cycle (8:09) | Spindrift (9:36) | Pulse Drive (11:27) | Midnight Sun (8:07) | Zone Rings (10:27) | Meridian Flux (11:16) | Circling The Void Above (10:44) | Black Prism (10:26) | Merging The Infinite (13:49) | Continuum (8:39)
This mp3 album is also available from these websites and online stores (including Bandcamp). If you want to use the music in your video please contact me for a license which is only available here at thebluemask.com:
Perpetual Dimensions is an album of atmospheric ambient space music and evolving soundscapes from Simon Wilkinson. The album contains 7 tracks of long ethereal cinematic music with a total running time of 87 minutes. The album is sold for personal listening only but please contact me if you’d like to discuss licensing this music for your videos, films, games or apps.
A collection of ethereal panoramic musical soundscapes, slowly shifting deep drones and long shimmering ambient textures. The music is floating, expansive, spacious and non-obtrusive with no drums or percussion to distract your attention from the hypnotic moods.
Perpetual Dimensions by Simon Wilkinson (ambient space music album sampler)
Introspective voyages of sound with warm lows, glistening highs and evolving amorphous structures.
With most of the track lengths exceeding 10 minutes (with the longest at just under 17 minutes) the music is ideal for drifting, relaxation, meditation, and sleep.
As well as being an album designed for personal and immersive listening, it also works well as atmospheric background music for gaming, sci-fi reading/writing and any other creative work. With a focus on detailed and hypnotic sonic textures and with the use of spatial positioning, the album is best listened to on headphones for maximum enjoyment and a mesmerizing audio experience.
Reviews of Perpetual Dimensions:
“The wait has an end! After Cryosleep Dreams Simon finally did it again with a polished and absorbing masterpiece. Evolving and panoramic.”
“Perpetual Dimensions is a deep space journey of ultra pleasant soundscapes that could easily top the playlist of the Hearts Of Space radio show. Between this new release and the previous Cryosleep Dreams, Simon has secured a respectful place in this genre.”
The full album will be immediately available to download after purchase as a zip file containing all tracks as highest CD-quality 320kbps mp3s.
PLEASE NOTE: this album is sold for personal listening only and does not include a license to use the music in films or videos. If you’re interested in using any of the music from this album in a video or film please contact me to discuss licensing costs with as much info about your project as possible.
Tracklisting: Perpetual Dimensions (16:16) | Still Rain (10:00) | Parallax Frequency Shift (11:11) | Sun Dust (7:17) | Vortex Of Coloured Light (12:24) | The Undivided Soul (13:28) | Leave This Burning Earth (16:42)
This mp3 album is also available from these websites and online stores (including Bandcamp). If you want to use the music in your video please contact me to discuss licensing which is only available here at thebluemask.com:
In February 2003, Mr Bennett wanted to record some ideas for new songs. We convened at TBM studios for a week and put down some basic tracks with acoustic and electric guitars, percussion and vocals that we later built on with extra layers and instruments including piano, organ, more percussion and guitars etc.
Songs range from the tongue-in-cheek upbeat intro track I Don’t Wanna Be You to the building Dylan-esque wordplay of Nobody, to the warm melancholy of Bye Bye Black Sheep.
Hear full individual track previews in the music player above. The full album contains over 35 minutes of music which will be automatically available to download after purchase.
Please note: Purchase of this album doesn’t include a license to use any of the tracks in videos or films – if you’re interested in licensing any of the tracks please contact me for pricing.
Tracklisting: I Don’t Wanna Be You (4:00) | Something About You (3:18) | Pink Mane (3:48) | Lonely At The Top (3:32) | Bye Bye Black Sheep (3:53) | Imitation Always Fails (3:41) | Nobody (5:11) | This Ain’t Rome (4:18) | Just Say No (3:57)
Stateless is the fourth album of atmospheric space music from ambient musician and composer Simon Wilkinson. With a total running time of nearly 80 minutes, the album is an ethereal collection of slowly shifting textures, evolving monolithic soundscapes and widescreen sci-fi panoramas designed for immersive deep listening.
From abstract but highly detailed soundscapes to low pulsing bass drones, Stateless is a musical journey through deep space worlds of sound.
Simon Wilkinson: Stateless [Ambient album sampler]
Music to immerse you in imaginary landscapes, ideal for focused deep listening or as background atmospheres for gaming, coding, reading, writing and other creative pursuits.
From calm and airy drones to dark and dramatic cinematic tracks, this is a collection of highly visual longform music with a sci-fi theme. An album of immersive music that can also aid meditation, relaxation and sleep.
I also created and designed the complete artwork for the album cover from my days in a previous life as a graphic designer…
Reviews of Stateless:
“I would love to give a poetic description about space and the self at this point, but I just cannot. The beauty and serene calmness of this album is simply beyond words. It resonates with the deepest part of your soul, the one which is still united with the galactic wholeness. Please try for yourself, and hear why Simon Wilkinson has earned his place at the pole position of space ambient. His music does not just drone along, but translates the unfathomable into sound. Ambient masterclass!”
“A stunning album, and all tracks are superb. For those that like relaxing with dreamy music this album is a must have. Favorite track: Descent In Amber.”
PLEASE NOTE: this album is sold for personal listening only and does not include a license to use the music in films or videos. If you’re interested in using any of the music from this album in a video or film please contact me to discuss licensing costs with as much info about your project as possible.
Tracklisting: Aphelion (12:28) | Glidepath (10:09) | Descent In Amber (7:40) | Vapour Mining (9:28) | Stateless (11:40) | The Immortal Game (17:54) | Esperdrome (9:55)
This mp3 album is also available from these websites and online stores (including Bandcamp). If you want to use the music in your video please contact me for a license which is only available here at thebluemask.com:
A pack of 5 short musical sound effects you can use as notification sounds for your phone, tablet or as other system alert sounds. Think of the kind of sounds you often hear when Windows starts up or the short musical motifs that companies use for their audio branding.
The musical styles here are obviously very short but range from simple upbeat motifs to darker cinematic sounds. The pack contains 5 musical notification sounds of 9 seconds each which can be used for personal use on your devices or computer for just £0.99 or select one of the other options if you wish to license these sounds for commercial or non-commercial public use. The pack of 5 sounds will be downloaded as a zip file of mp3s in highest quality 320kbps mp3 format.
Many years ago I decided that I wanted to write music for documentaries, films and moving images. With music, I’ve always found myself thinking in terms of visuals: colours, textures, landscapes and the shapes of sound.
From a young age I was fascinated with the correlation between sound and picture. Films and music are powerful mediums that visit you at a young age and have a lasting impact on your memories. Some of my most vivid memories from childhood come from a time when my senses were overloaded with dazzling visuals and immersive soundtracks, jumping out of the darkness of a movie theatre.
So this post is about 10 atmospheric movie soundtracks which were hugely influential to me in wanting to write music for moving images. Films that cemented themselves firmly in my brain as being as rich in sound as they were in visuals. A few of these I saw as a child (Blade Runner in particular) while others are more recent examples. I could easily have picked another 50 films but they’re all classic examples of what inspired me (and continue to inspire me) to write music for visuals and films.
For each film I’ve included a short sample from some of my favourite parts of the soundtrack, but I would definitely encourage you to check out the full scores if you’re not already familiar with them. So, not in any order at all, here are 10 of my favourites:
The Taking Of Pelham 123 (1974)
David Shire: Main Title
Director: Joseph Sargent
Composer: David Shire Get it from Amazon
Massively funky & gritty 70’s score with an unbelievable dirty low-end in the horns and fat bass ostinatos; one of my absolute all time favourites. Aiming for a sound that was “New York jazz-oriented, hard edged”, Shire ended up basing the score on Schoenberg’s twelve tone method which gave the sound a kind of organised chaos without a definite tonal centre – basically a sinister and threatening jazz/funk score that’s full of menace. There’s something about the gritty vibe and music of movies from this period that I love: The French Connection, Serpico, Dirty Harry, Capricorn One, Marathon Man, Black Sunday etc. A hugely underrated composer, I also love and highly recommend Shire’s haunting, melancholy and eerily discordant piano-based score for Francis Ford Coppola’s excellent The Conversation starring Gene Hackman (1974) and more recently David Fincher’s Zodiac (2007).
Memento (2000)
David Julyan: Memento Main Theme
Director: Christopher Nolan
Composer: David Julyan Get it from Amazon
Proof that every so often, independent cinema can come up with a modern classic on a shoestring budget (well, $5m, but peanuts by industry standards). David Julyan’s score to Memento is a fitting combination of glitchy nervous sound effects and slow haunting melancholic strings (which became a recurring sound in much of his successive work on other films with Chris Nolan, e.g. The Prestige, Insomnia etc.) For a while it seemed to be almost de facto for independent directors to cite this score as an influence in what they were looking for when on the lookout for a composer. In fact it still crops up as a musical inspiration on many film job briefs to this day, the sign of a highly effective score.
Naked (1993)
Andrew Dickson: Naked Title Music
Director: Mike Leigh
Composer: Andrew Dickson
Still my favourite Mike Leigh film, Naked is, let’s be frank, a fairly bleak tale. Dark, brutal and unsettling but bristling with amazing fast-paced dialogue and stellar performances from David Thewlis and Katrin Cartlidge (much of the final dialogue was improvised in character during rehearsals). The music by Andrew Dickson, an English composer and longtime musical associate of Leigh’s (scoring Meantime, High Hopes, Secrets and Lies and Vera Drake) is seemingly impossible to track down. Lots of mournful and desolate violins, cellos and harp, it’s a beautiful and dark companion to the stark and uncompromising subject matter.
Solaris (2002)
Cliff Martinez: Is That What Everybody Wants
Director: Steven Soderbergh
Composer: Cliff Martinez Get it from Amazon
Perfectly matching the understated visuals and narrative of the film, Cliff Martinez’ ambient score is an exercise in pure artistic synchronicity. Using Javanese gamelan, celesta, muted steel drums and slow shifting tone colors along with more traditional strings and horns, the ghostly score perfectly captures the remoteness and subtle poignancy of the film’s narrative. A bit of a departure at the time from the former drummer for Captain Beefheart and the Red Hot Chili Peppers. It’s a beautiful, timeless and sublime piece of work and like the score for Memento above, still a touchstone soundtrack for indie directors looking to appropriate some of that ambient existential angst for their own projects.
Assault On Precinct 13 (1976) / Halloween (1978) / The Thing (1982) / Escape From New York (1981)
John Carpenter: Assault On Precinct 13 (Main Title)
Director: John Carpenter
Composer: John Carpenter (Ennio Morricone for The Thing) Get it from Amazon
I love John Carpenter even though his films are pretty patchy in quality (apart from Halloween which is definitive). When I was growing up in the 80s, his movies would regularly play on late night TV and I’d stay up late to watch them. It was also a boom time for early ‘home entertainment’ when classics like Evil Dead and The Shining were becoming available to rent on VHS from the local video store. I remember the thrill of watching loads of Carpenter back then – Christine, The Fog, The Thing…there’s something very moody about his opening credit sequences that takes me right back to being 13 again. For me part of the appeal lies in that whole minimal atmospherics thing which was actually largely due to budget and time constraints at the time. I couldn’t really pick one film in particular, but the scores for the above four are probably my favourites. Maybe Escape From New York for consistency: big thick warm vintage synths and darkly humorous lyrics (“…stab a priest with a fork, and you’ll spend your vacation in New York.”)
Blade Runner (1982)
Vangelis: Fading Away
Director: Ridley Scott
Composer: Vangelis Get it from Amazon
One of my favourite scores from possibly my favourite movie (depending on what day you ask me). I suppose it’s a bit of an obvious contender but this score is just so damned evocative and lush; one of the most perfect and timeless combinations of visuals and music. And I’m not a particularly big Vangelis fan either (a bit too new-agey for me usually). Maybe as with the John Carpenter scores above, it could be the powerful associations of childhood memories attached to watching the film that trigger things in me. Either way it’s another great example of music matching the visuals perfectly. If you’re going to get the soundtrack, try and hunt down the 5 CD Esper edition, or failing that the 3CD version in the link above.
The Shining (1980) / 2001 A Space Odyssey (1968)
Wendy Carlos & Rachel Elkind: Rocky Mountains
Director: Stanley Kubrick
Composer: Various Artists
It was a toss up between these two Kubrick masterpieces. In the end I went for The Shining, but both are equally fantastic combinations of image and music. Stanley Kubrick had a tendency to not use one specific composer but rather just the individual pieces of music that fit the film, regardless of who wrote it. Using a mix of experimental electronic Moog soundscapes and modernist classical music, The Shining features artists including Wendy Carlos, Rachel Elkind, Kryzysztof Penderecki, Gyorgi Ligeti and Bela Bartok to create a deathlessly iconic soundtrack and movie. There’s a continuous unsettling air of dread and disturbing atmosphere subtly humming like dormant electricity throughout the entire film, from the initial flyover of the Rocky Mountains through to Jack’s gradual breakdown into insanity. It’s one of those films that are just inseparable from the soundtrack.
Pi: Faith In Chaos (1998)
Clint Mansell: 2 Pi R
Director: Darren Aronofsky
Composer: Clint Mansell Get it from Amazon
Another pivotal moment (for me at least) in modern independent cinema, Aronofsky’s moody and atmospheric film probably has a few holes in the mathematical technicalities (“A paranoid mathematician searches for a key number that will unlock the universal patterns found in nature”) but it’s full of beautiful grainy noir visuals, paranoid conspiracies and Clint Mansell’s hard edged distinctive electronic music (Mansell was frontman with late 80s alt/techno/industrial band Pop Will Eat Itself and has gone on to become a highly regarded modern film composer). Also, another good example of a successful director/composer partnership (Mansell went on to score Aronofsky’s Requiem For A Dream and The Fountain among many others).
Ghost Dog (1999)
RZA: Ghost Dog Main Titles
Director: Jim Jarmusch
Composer: RZA Get it from Amazon
When RZA nails it, he really nails it. His music can occasionally be hit and miss, but on Ghost Dog he gets it right from the off (and some of the Afro Samurai soundtrack is also pretty cool). Those ghostly lo-fi hip hop beats and spectral string samples are his trademark sound and put here to stellar use against Jarmusch’s existential story of modern-day assassins and Japanese mythology. The opening titles set the subdued tone perfectly for the rest of the movie – I definitely have a pull towards films where not much appears to be happening on the surface but quietly boiling underneath. Also, I’ve been listening to hip hop for over 20 years now and it’s always been a perfect genre for cinematic imagery and wordplay – yet it still amazes me that even today, there are a few who refuse to even acknowledge it as a valid musical form, especially other film composers who would prefer it to be all quill and manuscript.
The Assassination Of Jesse James By The Coward Robert Ford(2007)
Nick Cave & Warren Ellis: Falling
Director: Andrew Dominik
Composer: Nick Cave and Warren Ellis Get it from Amazon
After a short period of being generally uninspired by recent films and scores, this beautiful elegiac and atmospheric film brought it all back home again. Again, it’s one of those films where large sections just drift by with not much apparently happening, but the camera is allowed to linger on the actors’ faces and stunning photography. Nick Cave and Warren Ellis provide a haunting and intimate close-sounding score of piano, violin and guitar. Brad Pitt was on fine form in the film but the show was completely stolen by Casey Affleck who was mesmerising as Robert Ford and rightly nominated for several awards. One of the best films I’ve seen in a long time.
OK, that’ll do for now. Obviously, the above 10 are just an arbitrary selection of some of my favourites, so here’s a few more inspirations that could have been contenders:
Monster’s Ball : Asche & Spencer The Hours/Koyaanisqatsi : Philip Glass The Player/American Beauty : Thomas Newman Syriana : Alexandre Desplat Alien/Capricorn One : Jerry Goldsmith Red Dragon : Danny Elfman Taxi Driver/Psycho : Bernard Herrmann Thunderball/You Only Live Twice : John Barry Amelie : Yann Tiersen Get Carter : Roy Budd Lawrence Of Arabia : Maurice Jarre Paris, Texas : Ry Cooder Three Days Of The Condor – Dave Grusin The Usual Suspects – John Ottman
Updated: See my follow up list of another 10 classic atmospheric film scores here.
I’m very honoured to have one of my ambient space music tracks featured on the final compilation album release from the wonderful Free Floating Music netlabel.
The collection is titled Reflection and includes 18 tracks of calm and atmospheric instrumental music from artists including Altus, Bing Satellites and many more.
My contribution is the track Parallax Frequency Shift which is taken from my Perpetual Dimensions ambient space music album.
What’s even better is the album is a free download, in keeping with Free Floating Music‘s mission to distribute free and legal ambient music.
The album is released under a Creative Commons Attribution Non Commercial NoDerivs license, meaning you’re welcome to download and share the album for free personal listening (so if you want to use the music in your own videos you’ll still need to seek permission from the artist but I’m always happy to discuss licensing if you want to contact me).
So why not go grab a free download of the album. Free Floating Music also have a nice collection of other ambient albums and compilations, all available for free download from their official site for more info:
I know people don’t always have the budget to spend much on licensing music for videos but unfortunately I can’t afford to give my music away for free.
I don’t feel I ask a huge amount but I do ask that you don’t use my music without paying. Unfortunately over the past few weeks I’ve once again found more and more people using my music in their YouTube videos without paying, asking or even looking at my basic terms. I can’t really make it any more clearer than I do but if in doubt you can always ask. I’m at the stage now where I feel I’ve made it clear enough here on my website and in my YouTube videos that if you want to use my music in your own videos, it requires payment (either for a single use license or for repeat use with my royalty free music collections).
So after I’ve double checked any instances where my music genuinely hasn’t been licensed legally (and I always make sure it’s a genuine situation), I simply submit a copyright complaint to YouTube and move on. I don’t have the time or karmic/physical energy to manually negotiate every single unauthorised use (there’s hundreds). In both recent instances, YouTube chose to simply terminate the accounts of the uploaders which left them with their accounts closed and all their videos, comments and play-counts (some in the millions) gone. It’s unfortunate if you’ve lost your work but that’s how the process goes and when you’re using other people’s work without permission, you should be aware of the consequences.
In both cases the uploaders (who admitted not licensing my music or even asking permission) emailed me afterwards and basically said, “Thanks to you my account is now closed and I can no longer earn from my videos”. As much as I’d like to be sympathetic, I’m tired of being blamed when I’m not the one doing anything wrong. It’s not my fault if you only saw the word “free” in “royalty free” and just assumed you could go ahead and use my music without even acknowledging a few basic terms that I always explain in plain English; that’s like putting your fingers in your ears and hearing only what you want to hear.
In both these cases, the uploaders had completely ignored my terms about paying for licensing and just ripped the music from my promo videos – if that’s the only way you’re able to get hold of the music files, it should probably give you some idea that I haven’t made the music publicly and freely available for a reason and you should check whether you’re allowed to do that (hint: you’re not).
I’ve explained it before, but “Royalty Free Music” doesn’t mean “no charge”, in the same way that “Fat Free Yoghurt” obviously can’t be eaten in the store without paying for it. Just send me a quick email if you’re unsure about anything and I’ll happily clarify it (unless it’s about yoghurt). If you rely on YouTube revenue for your income and you’re earning money using other people’s content, you really need to be aware of the basic conditions and whether your videos are even eligible for revenue, so please don’t complain to me if I file a copyright dispute for use without permission.
I’m not out to be overly protective or make anyone’s life difficult. But when I spend hours, days and weeks writing music, learning production techniques, recording performances, building complex layers of sound, mixing and mastering, (not to mention all the money I spend on buying instruments, hardware, software, sequencers, sample libraries, artwork, web hosting etc.) I’m not earning a penny. It’s only when the music is finished and put out there that I might be lucky enough to find a few genuine customers who like the music enough to pay so that I can even start to recoup all the time, money and effort that’s gone into creating these tracks.
If you’re not willing to pay for the work I’ve created, perhaps you’d like to spend a few years learning the techniques and paying for the hardware and software and then try creating your own music? Sorry for the rant – to those who do genuinely buy and license my music and are willing to pay for music resources that they can use to create their own videos, documentaries and other works, my sincere thanks and appreciation. To those who don’t: you get what you (don’t) pay for…
Naked (1993)
The Shining (1980) / 2001 A Space Odyssey (1968)
I know people don’t always have the budget to spend much on licensing music for videos but unfortunately I can’t afford to give my music away for free.