I’ve been involved in production music for a very long time. I have been a production music library composer, music supervisor and composer recruiter, a music library screener, ran an online radio service, and I operated an artist promotion service. I’m very familiar with how selections and edits are made for serious productions and I’m pretty sure I’d be able to find uses for your music as a music supervisor. I think I’ve had clients that would like it. But AJ and your basic “throw up the music and wait” royalty free music libraries probably would not.
AJ is a typical micro-stock music “marketplace”, not a real music library. They generally stick to a pretty narrow path of what they believe works based on their clients’ buying patterns. The problem is that AJ’s market is not diverse and tends to just grab something after a quick search or directly from the top seller’s list. It’s largely made up of small corporate video producers. As a generalized statement that doesn’t apply to every corporate video producer, but probably to most coming here, they are working with very limited budgets, short deadlines and cookie cutter video productions that often are not very creative. The customers here are usually not people tasked with just finding and licensing music, as would be a music supervisor. They’re people wearing multiple hats with music just being a collateral duty. So they often are not that familiar with the resources available to find the best music or real trends that you would find outside of micro-stock and don’t have the money available anyway. They tend to generate “more of the same”. Do they have other types of buyers here? Probably, but definitely not in large numbers. Those seeking real quality aren’t coming here and those working major productions usually have working relationships with the larger production music libraries. They would never consider music from AJ. Those are your more creative producers and production companies, music supervisors, etc. They dedicate the time to find what works best and their budgets are sufficient to afford much higher quality.
Regarding your songs, rather than provide a subjective critique, I know that they could work for various types of productions and it is very possible that they would be accepted by some production music libraries out there. The one with what I think is the least potential in my experience is the third one. Mid-sized and above production music libraries, unlike micro-stocks, work more directly with clients and actively pitch individual songs to them based on their needs. They don’t rely on just throwing up “the usual suspects” and waiting for people to find something on the site. This allows them to have a much more diverse catalog of music for a more diverse client base and higher rates that do not bundle performance royalties. Personally, I would not waste any more time submitting to AJ because while your music might not be a good fit for the small time corporate video micro-stock market, I think you could find many, much more profitable uses and do much better than AJ. I believe that’s true for many composers here and suspect they’re here being exploited for low rates without performance royalties and composing mediocre “corporate video tunes” because they aren’t aware of the real opportunities that exist for them.
My only suggestion regarding these songs is that I suspect there is at least some construction kit / loop library use on the second song. While some construction kit and loop library content providers allow music library use with permission, you want to stay away from that when approaching most production music libraries. Even if not familiar with the construction kit or loop being used, they are very likely to know when something probably came from a construction kit or sample loop library. Even if it doesn’t, they will reject it if the music appears to be based mostly on what they believe to be royalty free samples. And in situations where the library auditions composers, as is the case with the better libraries, you run the risk of being shut out entirely. I have used instrumental loops from construction kits as “place holder” parts for inspiration while composing, but I later replace those parts with a variation of the loop that I actually play and never use more than one or two parts from the same kit in the same song.
My advice to all composers with good music here is that if you haven’t done research on this, start really exploring the markets outside of micro-stock and small online royalty free “libraries”. You will have to study the content of major library catalogs, make personal connections in the industry, and be ready to accept many rejections without being discouraged. You can keep submitting to these micro-stocks if you want a few bucks here and there while trying to move up, but don’t focus too much on this market because you’ll possibly end up getting caught up in the trap of being exploited and composing for a lower standard music market.