catch and release is a practice within recreational fishing intended as a technique of conservation .

after capture , the fish are unhooked and returned to the water .

often , a fast measurement and weighing of the fish is worthwhile .

using barbless hooks , it is often possible to release the fish without removing it from the water ( a slack line is frequently sufficient ) .

catch and release

catch & release fishing : 10 tips for a successful release | hatch magazine - fly fishing , etc .
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we want to give you some basic information on how to catch and release saltwater fish .
catch and release is easy when you can see them swimming on top of the water .
catch and release fishing have become the best choice for families that want to have fun nobody would have ever believed 10 years ago , that catch and release fishing charters . . .
growing numbers of award - winning commercials and videos are produced using creative content sourced and licensed by catch & release . ;
trout unlimited “encourages trout and salmon anglers to voluntarily practice catch and release because of its proven benefits to trout and salmon populations . tu , and its local chapters and state councils , often do advocate catch and release regulations where they are appropriate . typically , catch and release regulations are most useful on streams and rivers where there are highly valuable populations that are facing heavy fishing pressure . curtailing harvest in these situations can help increase and sustain trout and salmon populations , and has done so in most situations where catch and release has been used . ”
i’ve been thinking a lot lately about “catch - and - release” fishing . part of my interest was sparked by a comment from a friend on the angler ' s covey facebook page who was wondering about the toll on fish in a “catch and release” ( c & r ) environment . we’ve probably all caught fish scarred from being caught several times . so what is the history of “catch and release” – what was the original intent and what are the guiding principles and behaviors we should adopt when we “catch and release” ?
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if you want a fun - filled day of catch and release fishing , contact “finest kind” . you will be glad you did .
they all caught fish … some caught a lot . they all had great difficulty understanding the concept of “catch and release . ” in fact , the young man in the picture below said to me , “wallace , you understand that ‘catch’ and ‘release’ are opposite words . ”
more than 50 leading advertisers have made catch & release ; their go - to resource for accelerating production of digital media content .
before fishing with client or buddy , go over proper catch and release techniques detailed above . i use a stuffed animal to practice on land .
catch - and - release may have been proof of our enlightenment—just as voltaire scrutinized descartes’s thinking , catch - and - release anglers were looked upon as strange for not bringing home fish for supper in the early days . the entire rationale for catch - and - release was and is based on the premise that there would be fewer fish and smaller fish , unless we took action . the problem now is if we’re catching more , and releasing them incorrectly , then our situation hasn’t changed much .
some guidelines for catch - and - release angling the most important steps an angler can take to ensure a successful release are to hook and land the fish as quickly as possible , leave the fish in the water while removing the hook , and release the fish quickly . there are several other ways to improve survival rates :
catch and release fishing does not always end with another angler experiencing the thrill of landing a fish you let go with good intentions . some fish will perish after being caught even if they appear to be fine upon release .
i release the vast majority of the fish i catch , but i typically keep a few every couple of weeks for a family meal .
and if you are scratching your head wondering how catch and release fishing can end up killing or disabling your fish , then please read this entire hard - hitting and eye - opening article .
it’s a well - known term called , “catch and release fishing” that you’ve certainly heard of ( and hopefully have practiced a time or two… or countless hundreds of times ) .
so where do you net out on catch - and - release ? i ' m just throwing the topic back for you . . . and the pun definitely was intended .
i’ve had the privilege fishin’ with marc and i’ve caught some fat mama reds with him . he’s right on about the catch and release of fish . and support him on it and i already knew the catch and release procedure from addictive fishing . but you should always have a landing net with you always and try to find a shallow flat to nurse that fish back in its home .
so for me , catch and release had come full circle . a fish that had started its life before anyone in cadsas had really considered catch and release as an option , was released after the whole process had developed into a viable method of scoring a competition without the fish needing to be killed . au revoir iggy .
catch and release will not cause ben affleck any husband - envy . it ' s a harmless romantic comedy that will garner garner no awards and middling success at the box office .
if you use a net , avoid knotted nylon nets . these cause injury and abrasions to fish while removing their protective membrane layer . try to acquire catch and release friendly nets .
get a quick release for the fly and leave it in the water at all time .
i ' m all for catch and release . but every now and then i don ' t mind a fish or two for the frying pan either . my family enjoys fish and so do i .
catch & release is a full - service online retail exchange . what does that mean ? we make it easy for you to buy and sell pre - loved furniture and home decor .
by the conclusion of the film , catch and release transformed itself from a risk - taking romantic comedy with a darkly humorous lining into a stereotypically syrupy outing . . .
in a simulated tournament setting , plumb et al . ( 1988 ) examined the influences of water temperature and the use of commercial water conditioners ( such as professional sporting goods ' catch and release
the entire aspect of catch and release versus catch and keep has been a hot topic among anglers . as a young angler , i would go out with my father and chase all types of species of fish . we kept these fish for the pan and would not think twice about keeping what we caught .
catch and release is jackson hole ' s first full - service , online furniture consignment store . what does that mean ? we make it easy for you to buy and sell pre - loved furniture and home decor .
never weigh a fish on a hand scale if you intend to release it .
a recent picture post sparked a bit of a debate on catch and release . i figured moving it in to its own topic would prove more beneficial to effectively covering the topic and making it informative .
one thing the past few years of blogging have taught me is that nothing sparks a heated debate among anglers quite like the topic of catch - and - release fishing does . ( which , of course , is exactly why i ' m dropping the puck on catch - and - release fishing . . . right here on the trout unlimited blog no less ! )
for over twelve years , thousands of anglers have enjoyed us taking them to catch big fish , taking a picture and then letting them go . we first called it “cpr - catch , photography and release , ” but now we call it “keeping the best , releasing the rest . ”
“catch and release” actually has its beginnings back to 19 th century britain with the purpose being to maintain healthy fish habitats . in more recent times , the same rationale holds true . around the 1950’s , this same conservation philosophy guided the practices of “catch and release . ” today , the national park service advocates c & r practices : ““catch and release” fishing improves native fish populations by allowing more fish to remain and reproduce in the ecosystem . this practice provides an opportunity for increasing numbers of anglers to enjoy fishing and to successfully catch fish . releasing all native fish caught while in a national park will ensure that enjoyment of this recreation opportunity will last for generations to come . ”
but not all voices are advocates for “catch and release” tactics . in fact , peta ( people for the ethical treatment of animals ) is quite vocal in denouncing “catch and release . ” they argue that there is no such thing as “sport fishing” due to the repeated “trauma” and injury that fish experience . peta cites research that argues that fish do , indeed , experience pain from being hooked .
let’s not give fish - hating groups like peta ( read the “open letter to peta on catch & release fishing” here ) any more ammo to attack our beloved sport .
plan ahead : expect to release fish on any given trip and prepare the equipment necessary to do so .
changing the way i looked at fishing and the way i fish gives you more opportunity to catch big fish .
landing nets provide one of the few reliable ways to release a fish without handling the fish at all and also allow you to land a fish more quickly . try to use a net whenever possible and use a good quality catch and release net like the rubber mesh variety that are increasingly common and increasingly affordable these days . stay away from nylon nets .
p . p . s . – if you have any questions , thoughts , or additional points on catch and release fishing that we can address or add , please let us know in the comments .
my personal stance : catch and release is a great , often beneficial , necessary thing . many fisheries , especially with wild , naturally reproducing stocks of desirable game fish ( whether indigenous or introduced ) will greatly benefit from the release of that fish to live , reproduce , and provide angling opportunities down the road .
decide beforehand which fish are to be kept ; immediately release all others . do not engage in a prolonged debate over whether or not to release the fish after the fish has been landed . never place a fish in your live well intending to release it later if you catch a larger one . once you make a decision to keep a fish , stick with it . the fishes you release from your live well have a decreased chance of survival .
if needed , use a release tool ( dehookers , recompression tools ) to minimize handling .
find some slow moving water to release fish ( not as necessary for small fish . )
the fact of the matter is we have come a long way in the past decade in regards to understanding the perfect catch and release , and all we can do going forward is to educate and give constructive criticism when we see it going forward .
on whether anglers should catch and release fish they hook . unsurprisingly , the vexing question of fish pain comes up again , and it’s interesting to compare the two neurobiologists who write short features ( my emphasis in both quotes ) .
bryan , h . 1988 . conserving the resource : an evaluation of b . a . s . s . ' s catch - and - release program . bass anglers sportsmen society , montgomery , alabama .
that’s why when well - known florida angler marc krsek sent me his article on catch and release fishing below , i knew that it was my job to share it with you to help spread the word .
when you choose us , families get a chance to break away from the norm and head a different direction than most other boats . you get to target bigger fish that give you a better fight and and can be caught with more consistency if you choose catch and release .
i am a catch - and - release angler , 99 percent of the time . and that ' s partly because i believe in the lee wulff mantra (
a good game fish is to valuable to be caught only once
) , and partly because i don ' t like to eat trout nearly as much as i like to catch them .
not too long ago people used to keep every fish they caught . it did not matter if the fish were very small or if the fish were not edible . catch and release started about a century ago in the united kingdom , where anglers began to worry that their food fish were being overfished . today , many anglers around the world practice catch and release . a good way to understand the principle is that catch and release is not simply catching a fish and letting it go ; it is releasing the fish in the best possible condition to give it the best chance of survival . here are some easy steps you can take in order to do just that :
with seasons and bag limits constantly getting shorter due to an increase in fishing pressure and coastal population expansion , i took the opportunity to change the way i fished in 2005 and began offering catch and release and my customers love it . we now fish high in the water column , instead of always going to the bottom fishing like we used too . sure , some species we do fish on the bottom , but when we are doing catch and release , we try to fish no deeper than 50 feet of the surface .
in destin has become a growing trend mainly because destin is where the best fisherman congregates . now you may be wondering why the ability of the fisherman has any bearing on whether they catch and release or not . as fisherman get better at catching fish they can easily catch their limit in a short amount of time . if you have hired a boat to fish the destin area for the day and you catch all that you are allowed in the first couple of hours then you have a choice . you can either head back to shore to spend your day catching up on your yard work or you can enjoy the rest of the day doing catch and release fishing .
practice the # keepemwet method of catch and release by only taking the fish out of the water when it is time for the picture . besides , pictures with water dripping off of fish are cool . brett prettyman photo .
four species ( ignobilis kingfish , green jobfish , talang queenfish , bluefin kingfish ) are compulsory catch and release , as we feel the fishing pressure can significantly affect the populations . beyond that , the fisherman is free to release the fish after photographing it , or if he so chooses , take it to the weigh bay .
those who are strictly catch and release anglers would tell me to go to the store and buy fish . those who take a fish or two would suggest that if it is legal , it ' s no one ' s business but my own .
there are things anglers can do to better the chances of fish survival . these general rules of catch and release fishing are pretty straight forward , but even experienced anglers can become casual in their routine . here are some reminders .
it is best to catch and release after you have already caught your legal limit . if you are trying to decide which fish to keep and which to throw back then it will probably keep the fish out of the water too long while you make up your mind . if you know that you will be throwing back anything you catch then you can make the procedure quick and easy .
catch - and - release may theoretically be about the chase , but for many , it’s all about the catch—as long as they don’t have to keep ‘em , that is . an old field & stream article reveled at the ease of catching the “cooperative” and “gullible” cutthroats in big sky country in the early ‘90s . you could practically hear the suitcase zippers and see waders and tackle disappearing into that distant plane hold .
venting : if rapid descent is not possible , venting is another option . use established guidelines for venting such as found at catch and release . note that the fish’s stomach may protrude from its mouth . do not puncture the stomach .
event . photos have a way of re - energizing that resonance . additionally , they make it easier to do catch and release fishing . in the old days we would show off our stringers . now we show off our photos .
some critics of angling have argued that being caught with a hook is painful to fish and that catch - and - release fishing should be banned , accordingly . the evidence presented in support of this view is not , in my view , rigorous or convincing .
press release , 08 may 2018 inland fisheries ireland investigates fish kill at ballina , co . . . .
be responsible on the water and learn best practices for safe fish release . this video includes tips on proper tackle , gear , barotrauma and other fishing techniques .
a story of self - discovery catch and release is . . . well it ' s horribly , horribly dull is what it is . it ' s like an entire season of a mediocre primetime soap opera squeezed into a couple of hours .
learning how to fish involves more than catching and storing fish . at some point , all anglers will be faced with the need to return fish they are not allowed to keep to the water , due to size , season , creel limits , or local catch - and - release fishing regulations . mastering the task of fish release by following the steps in this section will give you confidence that you know how to release fish in a way to protect fish populations for future generations of anglers .
like all of fly - fishing this is a process of constant learning . although i have been guiding for 8 years and practicing catch and release for a lot longer , i learn new and improved fish handling techniques every season . this article is a contribution to a discussion that should be on going .
the practice of catch - and - release seems to be a commandment , not to be violated . when scientists or environmentalists or even widely admired writers on the sport politely suggest that it sometimes makes sense to keep and eat what is hooked , the reaction can be indignant .
releasing the fish video : the colorado parks and wildlife has a video on how to release fish safely . check out the video here .
if your quick release fails , forceps are your best friend . again , leaving the trout in the water .
fishsmart is a fish release program developed by anglers , sport fishing companies , and fisheries managers to help improve the survival of released fish . follow these simple fishsmart fish release guidelines to do your part in making fishing better for tomorrow through your actions today .
find out about salmon management in ireland - the tagging scheme , catch statistics , the salmon conservation fund and regulations . click here for more .
figure 1 . diagram of odwc black bass tournament weigh - in kit equipment showing kit components and steps taken in weighing angler ' s catch .
trout and salmonids are in increased danger of stress and exhaustion as water temperatures increase and oxygen levels decrease . pay attention to stream temperatures as air temperatures increase and the season moves on . know your target species and how hot is too hot for the fish you ' re pursuing . as temperatures approach the limits of what is safe , take extra care in all aspects of safe catch and release .
never grab a fish that you are going to release with a towel or cloth , as this will remove slime .
the first time i held a fly rod , i had a perfect—albeit tiny—cutthroat on my line within seconds ; i nearly peed myself with excitement . so , ethics aside , i get it . and while it’s necessary to remind ourselves of the everyday piscine inequality and pure brutality that we practice , it doesn’t necessarily matter what your angle is . everyone is big enough and old enough to make those decisions . what matters in this conversation is how we measure the efficacy and ultimate success of catch - and - release angling . how many fish really survive ? and , just as important—perhaps moreso—how many thrive ? to use paul guernsey’s words , what’s “beyond” catch - and - release ?
you probably have a different sense of how this should go . as i said , ethics are a largely personal matter . the point is that every angler ought to give catch and release some thought before they hit the water and decide where they land on it . and that thought process shouldn ' t be taken lightly .
movies and tv shows are certified fresh with a steady tomatometer of 75 % or higher after a set amount of reviews ( 80 for wide - release movies , 40 for limited - release movies , 20 for tv shows ) , including 5 reviews from top critics .
first , if i am fishing for wild trout , they go back , unless of course they are deeply hooked and not going to survive release .
lefty kreh is probably one of the most prominent modern - day advocates of “catch and release” as a conservation practice . in addition , lee wulff , another well - known voice for fly fishers , says “game fish are too valuable to only be caught once .
“sport fishing , ” rather than fishing for meat , has increased in popularity with many waters in colorado having designated “catch - and - release” stretches or c & r rules for fish of a certain length . be sure to check the regulations of the areas you will fish .
19 blue sharks were caught onboard tigger at the weekend and wins the evan mcgovern and his crew catch of the week . # cprsavesfish . . . find out more . . .
on some streams , catch - and - release is currently the only way to fish . but where there’s a choice , fresh wild trout—at ten dollars a pound in the store—might be too good a gift to pass up . jelinski’s advice ? tune into the experience , and your baser instincts , and catch - and - kill—once in a while . as one montana angler put it , “whatever happened to going down to the river , catching your three or four fish , and calling it a day ? ” what happened , of course , is that quantity overtook quality as a measure of the fishing experience , and 30 trout caught and released is now deemed superior to three trout caught , kept , and consumed . and there’s the rub : the catch - and - release community tends to consider its approach morally and ethically superior , but “harvest fishermen , ” as a group , are likely having a smaller overall impact on the fishery .
would you believe most of our guests choose catch and release fishing or only want to keep a few for dinner ? our guest are like you . they are responsible , accountable and understand the importance of only taking what they need instead of what they can . with us , we take you to experience catching and releasing bigger fish .
marzofka , t . 1995 . live well handbook : increasing tournament release rates . cross country research , rhinelander , wisconsin .
you might be asking yourself ,
what’s the best way to handle fish to ensure they survive release ?
whether or not they do largely depends on the angler . learning how to release fish from a hook takes practice in general . understanding how to handle fish and how to release fish in a conservation - friendly manner are the first few steps you can take to help promote fishing conservation .
holding a fish by the jaw and hanging it in a vertical fashion is the single most detrimental act one can inflict upon a fish intended for release .
don’t use a grip device use a net . if the fish is to be released use a pliers to dislodge the hook in the net and release .
you bet , drew . it ' s selfish , really . just want them to be there for us to catch later .
any advocate and practitioner of “catch and release” has to consider both sides of this issue . the practice is well - intentioned – yet it also has a contradictory perspective . if i concede to the idea that fish experience trauma between the time they take the fly and the moment they are released , what can i do to reduce the trauma ?
if the catch and release ethic has any roots , it lies in fly fishing . somewhere along the way , forward thinking anglers such as lee wulff put forth the idea that a fish is too precious to catch just once . this , it turns out , was a good thing and many of our world class fisheries can thank those anglers , along with sound scientific management , for their recovery . certainly , lesser fisheries have benefited , too .
the other day as i was driving to the river , i was passed by a car with a trout unlimited license plate holder that said
catch and release .
i was pleased to see that , though i assumed i got snaked for the spot i was hoping to fish .
but alas , i don ' t think fly fishing for trout could exist as it does in this country were it not for the catch - and - release ethic . personally , i cannot shake the thought that fish i have caught are swimming in rivers right now where you have your shot to catch them also . . . and by and large , i think that ' s a really good thing . i appreciate it when other anglers extend the same favor my way .
destin florida is a delightful place for the experienced fisherman to enjoy a day of catch and release fishing but you do not have to be a pro to do it . many of the local fishing boats will be glad to show you the ropes and you can be out on the water catching fish in no time .
more often than not , the angler had not been educated on the correct way to handle a game fish intended for release .
“lee was a giant of an outdoorsman — solitary , brave and always curious about what was in the next lake or river , ” wrote jack samson in his wonderful biography of wulff . “the father of catch - and - release angling and a pioneer in the conservation of atlantic salmon , lee wulff may have been america’s greatest fly - fisherman . ”
i want to ensure that when i enjoy the sport of fly fishing that i demonstrate the most ethical ways that 1 ) promote the sport , 2 ) that preserve and conserve the fish and their habitat , and 3 ) that foster good will among all who share the sport . “catch and release , ” when practiced with the approaches above , seems to satisfy those three criteria .
you didn ' t piss off as many people as you think : ) this thread was made to clear the air and show why what you did was okay . a lot of people have tunnel vision with the catch and release thing , so this thread was the solution i had to have an educating discussion about it .
in a 1994 interview , fwp biologist dick vincent said , “i’ve seen books written by numerous guides and outfitters that said the madison was made by catch - and - release fishing , and that’s full of crap as far as i’m concerned . fishing regulations are a nice tool , but they don’t have much to do with population densities . in fact , total biomass today is no better than it was before catch - and - release . all it did was rearrange biomass into sizes that anglers like better . ” vincent is the man whose research prompted the 1974 shift from hatchery - stocked rivers to the wild - trout fisheries montana is renowned for today .
our guests that choose to participate in catch and release are actually helping future generations of anglers by leaving their fish in the water . by doing so , gives the fish a chance to grow larger and reproduce . did you know that red snapper live 57 years and that a single 24 inch fish produces as many offspring as 212 – 16 inch fish do ?
avoid the use of gaffs , and never remove large fish such as tarpon from the water . large fish can injure themselves and the crew and should , therefore , be treated with respect . take a photograph of the fish in the water and release it .
tailoring your hook is yet an additional method to save your catch . by just utilizing a set of pliers , you can mash down your hook’s barb . doing this would certainly allow you for a less complicated launch of the catch as well as far better safety and security on its side . an additional great enhancement to the terminal tackle you’ll be doing would certainly be circle hooks . when the catch swallows the hook , all you need to do is reduced the line very closely as you could to your hook , after that launch your catch as promptly as you can .
catch - and - release has become an ingrained fly - fishing habit . it’s been the only way to fish for so long , that for many , it’s hard to imagine an alternative . but is catch - and - release , as practiced , still an important tool in fish conservation and fisheries management ? or , has it become smithsonian journalist alastair bland’s “wicked game of torment ? ” like our prized montana streams , one thing is crystal - clear : whatever the rationale or the ethics , fish are dying from poor handling and laissez - faire attitudes . so how can we be certain that the river’s “gift , ” as lee wulff described trout , keeps on giving ?
the largemouth bass is the most popular freshwater game fish in the u . s . learn more about how you can identify a largemouth bass , where to catch it and what bait and lures to use .
never land your catch by dragging it onto the rocks , beach or even grass along the shoreline . these places are no place for a fish . putting a fish on the shore virtually guarantees you ' re committing all kinds of no - nos : disturbing the fish ' s protective slime , keeping the fish out of the water too long , encouraging head and eye injuries and more . keep your catch in the water where it belongs if you ' re hoping to release it unharmed .
when fishing for all other species — in my area that means smallmouth and largemouth bass , pike , muskie and walleye — i ' ll keep pike because they are not native to our lakes and i ' ll release muskie because they are .
it was apparent that the times were changing and that a new type of angling was evolving . the catch - and - release angler in me was born . i do like to keep my share of fish for the pan , but a trip on the water does not necessarily mean that we are going to keep everything that makes it to the net .
schramm , h . l . jr . and r . c . heidinger . 1988 live release of bass , a guide for anglers and tournament organizers . bass research foundation . chattanooga , tennessee . 16 pp .
he would be correct . with trout , steelhead , and salmon , i keep them in the water if release is the plan . here in washington state , that ' s actually the law with steelhead and salmon ; no removal from the water . people ' s interpretation of this varies , as the law allows the fish to be picked up a bit , so long as part of it is in the water . . . . either way , it ' s something to be mindful of . i tend to land all my fish with a catch and release net , get them unhooked as quick as possible , and on their way without leaving the water . here ' s an example of how i will unhook and release a fish : urltoken and for a posed photo : urltoken
do you want the experience of deep sea fishing but really do not want to keep the fish . if so , ask about our catch and release trips . these trips are designed for those who want the enjoyment of going out on the boat and hooking some big fish . there are many stories to share when getting back from one of these adventure trips .
chapman , p . and w . fish . 1985 . largemouth bass tournament catch results in florida . proceedings of the annual conference of southeastern association of fish and wildlife agencies 37 ( 1983 ) : 495 - 505 .
it ' s interesting to me how a blog post that was really about human pain management can evolve ( and i use that term loosely ) into a debate about the virtues ( or lack thereof ) of catch - and - release fly fishing . but what the heck , i ' ll bite on that fly , and you all can decide what you ' ll do with me later on .
if you have difficulty removing the hook the best course of action is to cut the line as close to the eye of the hook as possible and release the fish as is .
motivated by conservation , catch - and - release transcended empty bellies and vulgar pot - hunting to sport hunting with an eco - conscience . anthropologist matt cartmill’s “clean - plate ethic” called to many that felt uncomfortable with killing . catch - and - release , or fishing for fun as it was originally coined , is not just fun ; it makes us feel good about our generosity of spirit in giving a worthy adversary another chance at life . it’s management as morality . however , as jack jelinski , montana state university professor emeritus , tells it , “if you fish—no matter how elegant your gear or how poetic the language you use to describe the experience—you are engaging in a behavior of predation . ”
try fishing with barbless hooks , or crimp and remove the barb . catch rates using barbed or barbless hooks are not significantly different . barbless hooks are easier to remove , and they cause less physical damage to the fish .
use wet hands when handling a fish or a knotless rubberized landing nets ( and rubberized - not cotton - gloves if you must wear gloves ) . this helps maintain the slime coat on the fish , which protects it from infection and aids in swimming . anglers that know how to practice proper catch and release never use a towel of any kind when handling fish since a towel can remove this slime coat .
a blue shark caught deep sea fishing off the coast of nova scotia , canada . one of the first and most important mentions according to the guides for how - to deep sea fishing is conservation . always keep nature first and fun second . fishing for sharks can be an exhilarating experience , but they are slow to reproduce and we must take extreme caution to not overfish . therefore , the catch and release method can be extremely fun and a lot more conservative on the environment .
but in the end , i think we need to realize that a lot of the fish management situations happen with reason , and a lot of that is based on good science . if you ' re going to be a catch - and - release angler , do it right . and thank you very much for doing so . if you ' re a harvest angler , that ' s great , too . abide by the rules and have fun .
i love eating fish as much as anyone does and don’t begrudge anyone who wants to take a mess home with them . i just choose not to take more than i need . i don’t try and fill my freezer anymore like my parents generation did . i do respect those who want to catch and eat their catch , but there comes a point when responsible anglers ask themselves “how much fish do i really need ? ”
do you know exactly what do you do with the fish you caught ? for some , they just keep enough for their meal and release the remainder . obviously , the best fishes are the fresher ones . even if you’re not into preparing them yourself , there are a lot of local restaurants and deep sea fishing services in myrtle beach who can cook up a great meal from your catch .
klindt , r . m . and al . schiavone , jr . 1991 . post - release mortality and movements of tournament - caught largemouth and smallmouth bass in the st . lawrence river . bureau of fisheries , new york department of environmental conservation . watertown , new york .
time is of the essence ! release fish as soon as practical and do not keep them out of the water longer than necessary . try to release your fish gently head first into the water , which helps push water through the mouth and over the gills , and helps to resuscitate the fish . revive exhausted fish by placing the fish in the water , facing the current if possible , with one hand underneath the belly and the other hand holding the bottom lip or tail .
well , like i said in my original post , the stream i ' m fishing is stocked every week . i keep everything i catch up to my limit .
i ' ve seen numerous studies that suggest that , even with the best catch - and - release practices , fish mortality happens - - perhaps at a rate of 10 percent or more . so you tell me who is impacting the resource more profoundly : the angler who fishes once a week , catches a limit , and eats what ' s in the creel ? or the angler who sticks 30 fish a day , every day for a month , but lets them all go with the
clear
conscience of being a catch - and - release angler ? how many fish are suffocated for photographs , put back in the water , only to die downstream ? if you ' re going to kill a fish , you should own that act , shouldn ' t you ?
always release the fish with their heads toward the water . you want them to enter the water where they can make a quick descent to where they came from .
we were the first offshore and deep sea charter boat that started catch and release in the gulf of mexico . we pioneered fishing high in the water so the released fish would have a better chance of surviving unharmed . we use gentle circle hooks that 99 % of the time , curl up perfectly in the corner of the bony structure of a fish’s mouth , which doesn’t harm the fish . these hooks set themselves and the fish rarely ever swallow one . we do all we can to get your fish back in the water quickly , but i love photography and if you catch something special , i might take an extra few seconds to take a few pics before releasing .
crimp the barb on hooks . this reduces possible damage to the mouth of the fish and almost always makes it easier , and quicker , to unhook your catch . a barbed hook is also not fun to remove if it happens to find human flesh .
you ' re not going to catch me arguing about the virtues of one approach over another . that ' s the stuff that makes the peta people light up with glee .
in the us , fly fisherman are usually c & r guys . all the videos , guides and discussions talk about releasing fish and only fishing for sport . a lot of fly fishing videos will actually focus on a dinner by campfire which consists of no fish , despite showing all the fish they catch . many fly fisherman get angry at fisherman who catch and keep fish for the table ; they see it as ruining it for everyone else because of a loss of fish and thus chances to hookup to a fish .
so each area is different and has different norms . in the us , fly fishing is seen more of a sport and you should always release the fish . no one fly fishes to catch dinner and if you want fish , you go to the supermarket . my theory for this is because americans are not pressed for fish as a protein source and value the activity more than the food . also , americans tend to eat very little fish and what fish they eat are usually large predatory species caught at sea like : salmon , shark , swordfish , tuna and these are not species caught via fly fishing .
under no circumstances should you use a gaff on any fish intended for release . even tarpon , who are suction feeders , can be hindered by a hole in the jaw lining .
sign - up to receive our monthly newsletter with interesting blogs about fishing and boating . get fishing tips and tricks and read personal stories from anglers who live and breathe fishing and boating . learn new fishing skills , boating resources , fishing etiquette , conservation and more .
everyone who has fished in the saltwater or enjoys deep sea fishing or inshore fishing , has at some time or another , has or will have to release fish . as u . s . populations increase each year , so has the number of people wanting to participate in recreational angling . with all of the private recreational fishermen there are along the coastal gulf of mexico , combined with the number of active charter boats and guide boats available , there is no doubt that catch and release will increasingly become a preferred method for saltwater fishing enthusiasts . in order to have sustainable saltwater fisheries and fish stocks in the future , all recreational angleres will have to do their part to take care of our saltwater resources . saltwater anglers , especially need to pay attention to and learn how to handle caught fish so they will survive after being released . they need to learn how to use different fishing techniques in order to target and catch fish that will survive being released .
inland fisheries ireland appeals to farmers on silage and slurry warm summer weather and . . .
sorry guys , i ' m new to fly fishing and was pretty proud of my catch . those were the 3rd through 8th fish i have caught on a fly . didn ' t realize it would piss so many people off .
very true , but who would want to catch one of those ugly ass smallies ? ( i kid , i kid . i hear smallmouth are fun as hell on a fly rod . )
st . lucia st . lucia has excellent fishing for blue marlin and yellow fin tuna and is also popular for whale and dolphin watching .
may , b . e . 1973 . evaluation of large - scale release programs with special reference to bass fishing tournaments . proceedings of the annual conference of southeastern association of game and fish commissioners 26 ( 1972 ) : 325 - 334 .
eat em all ! that ' s what they ' re there for ! invest in a smoker . . . that ' s what we northwesterners do when we catch us a grip of fish .
5 . articles 9 , paragraphs 1 and 2 and 9a can be expected to be observed .
c water ) were added over the day to simulate the addition of an angler ' s catch . information from this test was used in determining quantities of ice to provide to teams in group b .
when learning how to release fish , there are conservation - minded steps that should be followed to help ensure higher survival rates for your catches . these specific actions , starting with tackle selection and continuing through resuscitation , will contribute to sustainable fishing efforts .
and then there ' s another layer entirely , and that is , in some cases killing certain fish can help save others . in efforts to preserve native cutthroats in the west , for example , anglers are encouraged to keep the brookies and rainbows they catch . sometimes not keeping a fish is a bigger tax on a watershed than keeping it is .
recompression : rapidly returning fish to depth is the method of choice for returning barotrauma affected fish . a variety of tools are on the market , including descender devices , release weights & baskets , etc .
following are 10 tips for insuring that your catch makes it back into the water for another angler to pursue . while these guidelines are written from the perspective of the trout and salmon fisherman , virtually all of these guidelines apply to other species as well .
in some cases , the best thing we can do for certain fish populations is to selectively harvest . i eat most of the brook trout i catch in the rockies . they do taste good on crackers .
as long as feasible , while launching your catch leave it in the water . if there is no option but to take care of it from the water after that make certain that you get your hands wet . you ought to do this to lower the elimination of its safety slime layer that covers it . the elimination of this layer could make your catch at risk of disease when it returns to the waters .
reef fish may require special handling during release to decrease mortality . this information is based on the best available research regarding reef fish venting as interpreted by a florida sea grant advisory panel assembled to review this research . although the authors realize the need for further study of the influence of venting on long - term reef fish survival , sufficient information exists to warrant providing guidelines to assist anglers in successful release practices .
it ' ll devastate the whole community and we won ' t be able to make our living ,
said chris herpin , a local fishing guide . like him , most fly fishers release hooked fish back into the water to avoid depleting stocks .
all freshwater fish ( to my knowledge ) have this mucous layer . a wet hand or wet towel keeps you from rubbing the film off when handling the fish , while a dry hand can leave the fish open to fungal and bacterial infections after release .
seidensticker , e . p . 1975 . mortality of largemouth bass for two tournaments utilizing a
don ' t kill your catch
program . proceedings of the annual conference of southeastern association of game and fish commissioners 28 ( 1974 ) : 83 - 86 .


extreme music/bleeding fingers is a production music company .

the production arm of sony/atv music publishing , the company creates and licenses music for use in television , film , advertising , and online media .

their library includes music from artists and composers such as quincy jones , hans zimmer , george martin , snoop dogg , xzibit , and junkie xl .

extreme music is headquartered in london , with its creative operations based in santa monica , california .

extreme music was founded in london in 1997 by russell emanuel and dolph taylor .

in 2013 extreme music partnered with composer hans zimmer and his business partner steve kofsky to found the joint-venture bleeding fingers custom music shop .

bleeding fingers focuses on creating show-specific libraries and scores for unscripted , reality , documentary and light drama television shows .

extreme music / bleeding fingers

a growing demand for custom music from extreme’s clients catalyzed the launch of bleeding fingers in august 2014 .
production companies extreme music / bleeding fingers and grooveaddicts for whom he has written music for media including news broadcast music , commercials and trailers across the usa and europe .
submission for hans zimmer / extreme music ' s bleeding fingers competition , incorporating zimmer ' s percussion stem and drawing from a modified version of his theme .
extreme music / bleeding fingers is a production music company . the production arm of sony / atv music publishing , the company creates and licenses music for use in television , film , advertising , and online media .
the technology allows customers to edit the music that they license from extreme music before the music airs in their production .
the grammy - and oscar - winning composer behind man of steel and dark knight is partnering with extreme music to launch the bleeding fingers custom music shop . at zimmer’s campus , the “stanford of score , ” they’ll craft tunes for duck dynasty , mountain men , and more .
representing one of the shop’s biggest coups , bleeding fingers beat out 13 bidding competitors , including three fellow music shops , to score the docu - series “planet earth ii . ” zimmer wrote the main theme and staff composers jacob shea and jasha klebe wrote the score proper , which was recorded by an 80 - piece orchestra — bleeding fingers’ biggest band to date — at london’s air studios .
you can read the full - report on sony / atv ' s extreme music and hans zimmer ' s joint venture the bleeding fingers custom music shop in tomorrow ' s billboard , which you can pick up at the billboard shop or subscribe now to billboard and read it online , in print and on your ipad .
extreme music , which is owned by sony / atv music publishing in new york , partnered with menlo park music technology company ujam to develop the software .
top producers timbaland and mike “daddy” evans have pacted with sony / atv music publishing’s extreme music to create 75 new urban pop tracks for the production music house .
“they’ve all been through the zimmer boot camp , ” says extreme music and bleeding fingers ceo russell emanuel ( kofsky will serve as the new company’s chairman ) . “these are seasoned tv and film composers . hans’s role is to bring in the talent . they’ll become bleeding fingers composers . our job is to bring in the business . ” bleeding fingers will compete with more democratic , digital , crowdsourced companies making music for reality tv . jingle punks , for example , a four - year - old music production company with offices in new york , l . a . , toronto , london , and sydney , has music on reality shows like pawn stars , american pickers , and the voice . the company is tech - driven and lets virtually anyone submit songs to be added to a catalog that’s polished and made available to music supervisors .
hans zimmer ( far left ) visits the studios of npr west with ( left to right ) contest winner daniel suett , bleeding fingers ceo russell emanuel and chairman steve kofsky . stephanie hall / courtesy of the artists hide caption
english / original title : the liberators – why we fought . writer : emanuel rotstein . camera : dirk heuer . sound : alexander towers , tino keck . editing : rodney sewell . music : bleeding fingers ( hans zimmer ) , extreme music . production : the history channel ( germany ) gmbh & co . kg . producer : emanuel rotstein . length : 60 min .
the custom - scoring business is long overdue for a major shake - up and we fully intend to bring it ,
said russell emanuel , the ceo of bleeding fingers and extreme music , in a prepared statement .
this is a natural evolution for us and represents major incremental growth and an exciting next chapter in our story .
very recently , imagem music group acquired 5 alarm music . in 2010 , warner chappell music , the global music - publishing arm of warner music group corp , acquired nashville’s 615 music , groove addicts production music library and london - based carlin recorded music library and in 2007 they acquired non - stop music . also in 2007 , universal music group , which already owned firstcom and mastersource , acquired killer tracks through its acquisition of bmg . in 2009 , sony atv music acquired extreme music .
emmanuel had launched extreme music just a year earlier in 1997 and was the talk of london after he mailed out condoms to a thousand music industry executives . the condom package read ,
extreme music : the only safe thing you ' ll get from us .
like extreme music , bleeding fingers ranks as the leading custom music scoring company in the industry . in addition to designing the soundtrack for hit shows like
$ 100 , 000 pyramid
, the duo notably won a highly competitive bid to orchestrate the original music for bbc america ' s standout series “planet earth ii” . in 2007 , planet earth reached an international audience of over 100 million people , going on to claim four emmy awards .
bleeding fingers custom music shop cut its ribbon three years ago , partnering with oscar winner hans zimmer to mass - produce scores for unscripted , reality , and documentary tv series that include “survivor” and “alaskan bush people . ” its latest and biggest catch is bbc’s upcoming “planet earth ii . ”
extreme music , which has a library of original music that it licenses for films , television shows , commercials and video games , announced wednesday the launch of its music editing tool , called customix .
extreme music ceo and bleeding fingers co - founder russell emmanuel ( photo courtesy of extreme music ) the market for production music has grown to an estimated valuation of $ 2 billion globally , ranging from television and film scoring , to electronic gaming and licensing for commercials . when this segment of the industry first emerged in the 1920′s and 30′s , very few companies existed in the space , and each followed a very basic business model . instead of utilizing talented musicians to create catalogs of original music , these niche production houses would simply replicate the top songs of th . . .
plans for the new venture include 18 new studios on zimmer’s sprawling santa monica , california , campus , a place they call the “stanford of score . ” clients of bleeding fingers won’t necessarily get hans zimmer himself in a room directing an orchestra . during his decades as a composer , he’s assembled a collective of understudies–musicians and composers to whom he’s delegated work . many have had direct hands in the work zimmer is most famous for . bleeding fingers offers these creators and other up - and - comers steady work .
“we set up extreme music to be the antithesis to what , at the time , was a production music industry that wasn’t very interesting , ” emanuel told forbes .
the winning composer , zimmer announced today on weekend edition sunday , is daniel suett , a 22 - year - old londoner fresh out of the leeds college of music . his reward — beyond enviable for a recent college graduate — is a job , working for bleeding fingers as a staff composer .
already , bleeding fingers ' client list includes it ' s always sunny in philadelphia , duck dynasty , boston ' s finest , the fox reboot of cosmos , judge judy , and more . the operation is run out of a new facility in santa monica .
according to emanuel , extreme music is the only production library that offers anything like customix , but that will not last long .
so nobody can accuse zimmer — an oscar - winner for disney ' s the lion king , and a three - time grammy - winner — of resting on his laurels . in fact , he ' s expanding the business in a joint venture launched earlier this year between extreme music and rci global , an investment company owned by zimmer and his business partner steve kofsky . the bleeding fingers custom music shop offers bespoke music libraries for television clients as well as custom scores for unscripted , reality , and
light drama
tv productions .
when zimmer ' s not supervising the bleeding fingers operation , he ' s continuing to write music for the big screen . you ' ll be able to hear his work soon in films including christopher nolan ' s interstellar , winter ' s tale , and the amazing spider - man 2 — among , we have no doubt , many others .
“there’s been a gap in the market for being able to do that , ” said russell emanuel , extreme music’s co - founder and chief executive .
extreme started as a small london - based music library . two decades later , the company maintains offices in three continents and 82 full - time employees . they quickly became the primary music source for power players like sony , paramount , disney , mtv , hbo , apple and american express . in 2012 , billboard named emanuel one of the 10 most powerful executives at sony / atv . moving extreme ' s headquarters to the states , the company is now anchored at a 7 , 500 square - foot production compound in santa monica , california . emanuel shares the world - class facility with oscar award - winning composer and longtime business partner hans zimmer , serving as the home to both extreme music and their joint venture bleeding fingers , which was founded in 2014 .
bleeding fingers custom music shop cut its ribbon three years ago , partnering with oscar winner hans zimmer to mass - produce scores for unscripted , reality , and documentary tv series that include “survivor” and “alaskan bush people . ” its latest and biggest catch is bbc’s upcoming “planet earth ii . ” the shop’s origins go back to 1982 , when russell emanuel [ … ]
extreme music has a catalog of just under 13 , 000 tracks that were created specifically for production soundtracks . that’s relatively small compared to the music libraries from giants such as universal music group , which has hundreds of thousands of songs available for license .
ryan demaree is a sundance award winning film & tv composer - as well as an established singer / songwriter . he has written for fox , warner bros , at & t , amazon , titmouse animation , big picture ranch , green planet , extreme music , bleeding fingers , and collaborated with several a list directors , composers , and artists in los angeles . he has performed and toured with national tours , choirs ( including the boston pops ) , country artists and rock bands .
the business that emmanuel built , however , is no laughing matter . while the company doesn ' t disclose its finances , emmanuel says extreme music is
very profitable .
viacom in august 2005 bought extreme for $ 45 . 1 million . three years later , sony / atv picked up extreme for an undisclosed sum . in both acquisitions , emmanuel remained in charge of the business .
emmanuel and remote control co - owner steve kofsky , who will be bleeding fingers’ chairman , are beginning to staff the operation by hiring a creative manager and an assistant with an eye to add two more . jacob shea , who has been in the remote control camp for almost six years , has been hired as the lead composer . the bleeding fingers studio is under construction next door to the homes of remote control and extreme in santa monica and once it is up to speed , emmanuel and kofsky figure it will have 16 composers working there . that figure owes to the building’s configuration of 14 writing rooms and two recording studios . bleeding fingers was created after extreme kicked the tires on a few production houses that offered scoring services . the impetus was requests from television production companies requesting custom tones and cues . ultimately , russell and kofsky say in different ways , bleeding fingers brings a unique level of seasoned composers , studio production and infrastructure to a business that , when it comes to music , is short on time and money . kofsky says it is as close to hiring a composer as a reality show might do . “but it’s done in an affordable way , ” he says , “ and they’re going to get more for their money” than using library tracks or hiring a single composer . “we have brands we want to protect . we know how to ( provide music ) effectively and efficiently , but maintain the integrity of both our brands . ” adds emmanuel , “essentially , it’s a lane of business that has been booming because of reality companies and it splits nicely between our two companies . both companies are trusted , diligent about copyright , and there’s a quality level . ”
songs from extreme music ' s library grace the soundtracks of works such as lincoln , mad men and dexter . kevin edelman , of metalman music , is the music supervisor for several shows , including homeland and criminal minds . he recently demoed a beta version of customix .
crimson tide , the lion king , inception , gladiator — that ' s just a handful of the many movies that feature award - winning scores by hans zimmer . lately , zimmer has lent his ear to soundtracks written by a new generation of aspiring film composers . he ' s been judging a contest for the bleeding fingers custom music shop , a production house in santa monica that makes music for reality tv shows — everything from duck dynasty to survivor .
extreme music , which employs 60 people worldwide , is expanding its santa monica operation by constructing a building next to its existing office that also will allow for more studio space .
entering the music library world , then , “seemed like a good way to get off the tour bus , ” so emanuel formed extreme music with a partner in 1997 — catering mostly fresh edm music to such clients as the bbc and itv . “top gear” was an early adopter .
a santa monica music company is hoping that an expansion into music technology hits the right note with customers .
that’s where zimmer and his new partners come in . if he can use music to help you understand what’s happening in inception , surely he can make reality tv better . the academy award - and grammy - winning composer behind the aforementioned film about dreams within dreams , plus the dark knight trilogy , man of steel , and about 100 more ( plus game call of duty : modern warfare 2 ) , along with his business partner steve kofsky , are teaming up with extreme music , sony / atv music publishing’s production music division , to officially launch the bleeding fingers custom music shop . they’ll target clients interested in custom - crafted music for light television drama , documentaries , and reality tv . in what they call a “proof of concept” period , they’ve already scored duck dynasty , boston’s finest , and the history channel’s mountain men , which won ascap and bmi awards .
bleeding fingers’ founders are targeting showrunners and music supervisors who are under the gun , budget - wise and deadline - wise , and don’t want to sift through a million crowdsourced tracks by no - name musicians using garageband . “it’s a quality play , ” zimmer says . “i don’t think anybody wants to make something of poor quality . the whole point is to encourage excellence . you gotta start somewhere . i think it’s important to try set an example . ”
this guest article was written by bob mair , ceo , owner and founder of black toast music , an independent music publisher / production music library based in chatsworth , ca .
“prior to extreme , there were businessmen creating catalogs , rather than creatives creating catalogs – so we were crowned the ‘bad boys’ of production music in our first year , and we owned it . ”
if you begin to notice more of those befitting songs in the coming months and years , a new web app released wednesday could be the reason why . extreme music , a popular music production library , just introduced a new feature called customix to its website .
music libraries were once the very last resort for music by supervisors and producers looking for music placements in their film and television projects . libraries were quite simply thought of as the bastard children of the music industry . today however , music libraries are quickly becoming more and more relevant by asserting themselves as legitimate competition to the record labels and major music publishers . the growing force of music libraries is evident in several areas , but nothing demonstrates this more dramatically than the fact that major music publishers have been scrambling to acquire the most prominent music libraries .
one of the powers of this application is that it turns you into a music editor without needing the deep music knowledge that a skilled music supervisor would need ,
emanuel said .
estimates of the size of the market for production music are nearly impossible to come by , making it difficult to calculate extreme ' s rank in the business .
when it comes to production value , compromise is for pussies ,
emmanuel says .
i pity the fool that ' s in competition with extreme . we are the bar .
••••
uk media music library extreme music has formed a joint - venture with media ventures entertainment group , the company headed by composer hans zimmer and producer jay rifkin . the venture , hothouse , will provide music production for composers , producers and film companies in both london and los angeles . hothouse also plans to launch a film composer agency service .
extreme music comes to the table with a catalog of about 13 , 000 unique copyrights , a fraction of what competing production music companies offer . emanuel says showrunners and supervisors don’t want to go shopping in a costco - sized store to try and find the perfect score . that’s why , he says , extreme has the “highest grossing music catalog in the world . ” “i know it’s cheesy and everything , but it really is about quality not quantity , ” emanuel says . “if you dive into these freight trains worth of music , it’s a small amount that’s making money . ”
bob wrote a well constructed and informative article about music libraries . being in the music clearance and cue sheet business for over 30 years , i love going to music libraries and have always known that bob mair and black toast music were top notch . you rock bob…and amy !
top producers timbaland and mike “daddy” evans have pacted with sony / atv music publishing’s extreme music to create 75 new urban pop tracks for the production music house . timbaland and evans — noted for their work with chart - toppers like jay - z , missy elliott , britney spears , katy perry and miley cyrus — join quincy jones , snoop dogg , hans [ … ]
founded in 1997 , extreme music boasts the number one production music catalog in the world . emanuel ' s trained team of world - class producers and musicians develop the entire music library in - house , creating and curating a catalog of tracks for their international roster of clients to use for placement in television shows , films , commercials , and other contemporary forms of media .
being an independent music songwriter and singer , i would love to place some contemporary pieces for television and movie production . music libraries appear to be a wonderful way to categorize different types of music , but with the similar concerns as music publishers . the cost diffential appears to be a very positive result of the music libraries although , with the end result being how i can place my music out there to be heard . black toast appears to be a significant force in the contemproary music industry .
seeing a prime opportunity to leverage their collective expertise to produce original scores for television and film , emanuel teamed up with hans zimmer to launch bleeding fingers . arguably the greatest film composer of all - time , zimmer has scored over 150 movies , including
the lion king
,
pirates of the caribbean
,
gladiator
,
the dark knight trilogy
and
the last samurai
. beyond winning an academy award , zimmer has also won four grammys and two golden globes .
levinson and emmanuel scratched out a budget on the back of a cigarette box , itemizing the things they ' d need to start their own company . in april 1997 , levinson wrote a check for â£100 , 000 and extreme music was born .
three ways to become the best at what you do so that your clients feel reassured by the price they pay you . russell emanuel was 15 years old when he decided to leave high school . he knew from a very young age that he was a musician , through and through . in 1997 he co - founded extreme music , a library stock of production music . extreme music became famous , not only for the music it offered , but also for the notorious punk energy and marketing that russell channeled through the brand . most memorably , he sent condoms to numerous industry professionals , printed with the message :
the only safe t . . .
“we get the music right before we get anything else right , ” said emanuel , who got his start in the music industry as punk rock musician .
read next : tencent music $ 30 billion ipo heads to u . s .
along with being able to provide high quality music at affordable prices , a network of indie artists , and a need to stay as current as possible ( to compete with the larger music publishing companies ) , music libraries can quickly create music with the hottest “new sound” before production companies even know they are looking for it .
timbaland and evans — noted for their work with chart - toppers like jay - z , missy elliott , britney spears , katy perry and miley cyrus — join quincy jones , snoop dogg , hans zimmer , paul oakenfold and mark mothersbaugh on the extreme roster . extreme prexy - ceo russell emanuel said , “our urban music offering is already second to none with snoop , quincy and rodney jerkins – adding these guys means we now have all the bases loaded . ”
his formula for recruiting world - class musicians and making high - quality recordings has earned extreme many top - tier clients in hollywood , including paramount , lionsgate , walt disney and fox , as well as major tv networks and brands like mtv , nbc , hbo , showtime , the bbc , american express , ford motor and the national football league . movies and tv shows that have used extreme ' s music include
katy perry : part of me ,
brave ,
snow white and the huntsman ,
csi ,
30 rock
and
jersey shore .
artists who have contributed music to extreme ' s catalog of 12 , 000 titles include hans zimmer , snoop lion , paul oakenfold , timbaland , james s . levine and george martin .
zimmer began contributing to extreme’s library in the late ’90s , and when the company spread to the u . s . in 2001 , it set up shop at his remote control productions campus in santa monica .
with film music , you ' re writing something that only suits the film , whereas tv music tends to follow trends of whatever music is kind of riding at the time ,
suett explained .
i was trying to see how many styles i could get out of one piece of music , and how different i could make each one .
from there , emmanuel moved on to bruton music , a library of production music now owned by universal publishing . at the time , production music had second - class status within the world of music publishing . the business was built around cheaply producing libraries of sound - alikes , songs that sound like famous tunes but without the large licensing fees of the originals .
i am the co - founder of a new music service called zamplify , that will be out this summer . our objective is to make it easier for the public and music industry leaders like you to find good music , by crowdsourcing the detection of the best new music and providing an effective way to assess the velocity of new artists ( by genre ) .
“when we went into this space , we totally underestimated the opportunity - - we certainly knew it was a big opportunity , but not as significant as big as what extreme ended up becoming , ” emanuel stated .
customix is only available to extreme music ' s subscribers , which means it ' s probably not for you unless you ' re an industry pro , or if you ' re independently producing high quality content for digital distribution . on the bright side , that means you can just kick back and relax , knowing that more felicitous music is on its way to the shows and movies you love to watch .
in other nat geo news today : the network announced that bill clinton will be the first guest on the new season of startalk , hosted by dr . neil degrasse tyson . season 2 premieres sunday , october 25 at 11 / 10 c . the two - hour special billy the kid : new evidence premieres sunday , october 18 , at 9 / 8c and globally on the national geographic channel . executive produced by kevin costner , the special traces the origins of a newly discovered tintype containing what appears to be a second image of the famed fugitive . nat geo wild has greenlighted big game of thrones ( wt ) , a wildlife miniseries that chronicles rival animal clans battling for supremacy in the wild . it premieres on nat geo wild globally in 2016 . and hans zimmer has signed on to score the main title theme music for national geographic channel’s upcoming movie event saints & strangers , shooting now in cape town , south africa . zimmer and extreme music’s bleeding fingers music will score the film . saints & strangers chronicles the trials and tribulations of the first settlers at plymouth . the four - hour film is slated to premiere on the network later this fall .
the online extension of billboard magazine , urltoken is the essential online destination for the music business .
the extreme music library limited was founded on 10 sep 1996 and has its registered office in london . the organisation ' s status is listed as
active
. it currently has 6 directors . the company ' s first directors were halliwells directors limited , hl secretaries limited . 20 - 49 people are employed at this company .
the park city film music festival is working to become a destination for film composers , aspiring artists and filmmakers . i am hoping that the music libraries will become sponsors and help us grow this industry .
customix works with many of the 13 , 000 songs in extreme music ' s library , which includes tracks from artists like hans zimmer , quincy jones , george martin and snoop lion . one doesn ' t need one of those producer ' s acumen to use customix , however — it was designed as an easy - to - use tool .
bob mair is the ceo , owner , and founder of black toast music , a leading , independent music publisher / production music library based in chatsworth , ca . since its launch in 1990 , the company has placed music in hundreds of television series , specials , promos , and tv movies , and dozens of high profile motion pictures , along with videogames , internet advertising campaigns , and numerous , multi - media presentations .
music libraries know that in order to compete , they must have music that will fit every possible use . libraries therefore create this music before it is even requested . when they do not have a certain type of music at hand , some libraries such as ours ( black toast music ) , will even create something specifically for the project . libraries know that their reputation for being able to deliver “anything and everything” that a project may need quickly and affordably is the only way to thrive in this competitive business . coupled with their strong attention to the needs of their clients , music libraries have continued to become even stronger and more of a force to be acknowledged .
indeed , in today’s economy , with budgets for placing music within entertainment properties more and more constrained , affordable high quality music is more important than ever before . this allows music supervisors , producers and creative directors seeking “cool” music to come to library companies and not have to spend an arm and a leg on a “famous” song . in such a scenario , everyone wins ; the indie artists get exposure and get paid , the library makes money , and the production company gets great music with less expense , and also acquires some “indie cred” in the process .
some great points here bob . i would add a fourth point to your list of why libraries add so much to a catalogue . certainly here at imagem production music , we create music that is built to work for synchronisation . so not only do we have a great existing range of music and a roster of brilliant composers , but we can guide them to writing music in a way that it works in exactly the way that our clients want . this is something that many commercial works lack – so in essence you’re getting cheaper music that works better to picture .
extreme currently adds just over 1 , 000 new tracks to its library each year , taking a very surgical approach to the music they produce . yet , despite a comparably low output , one key to extreme’s astonishing success has been continuously creating and diversifying their library . instead of adopting a limiting made - to - order business model , or mirroring popular trends , emanuel implements a perspective of entrusting great talent to freely create and collaborate .
what makes a production music library like ours so effective is that when a client selects a track , they know it ' s completely original and they can clear it ,
says emanuel .
one phone call , and it’s done - - often at a lower price point , because we offer a more efficient process .
extreme’s tracks have been used on network shows like “glee , ” “mad men , ” “30 rock , ” “entourage , ” “the office” and “gossip girl” ; and features and trailers including “the fighter , ” “avatar , ” “ twilight saga : eclipse ” and “inception . ”
fourteen years ago , emi production music chief peter cox summoned a punk rocker named russell emmanuel into his london office .
in the world of production music - with its dodgy history of sound - alike recordings - that was saying something .
extreme’s extensive catalog currently consists of over 15 , 000 original copyrights , covering the full spectrum of genres - - from classical and rage metal , to alternative rock and electronic dance music . the library even includes tracks from notable legends like quincy jones , snoop dogg and george martin . in 2008 , the company was sold to sony / atv for $ 110 million , with emanuel still remaining as the active ceo .
instead of scolding emmanuel , cox shook his hand and told him ,
you really are the bad boys of production music .
for zimmer , who previously partnered with extreme on customix , an online music library that edits music to video , this is a smart diversification in a rapidly changing time for major motion pictures in hollywood–the number of traditional big - budget projects are shrinking . “the world is shifting , ” zimmer says . “the way we tell stories is shifting . television writing has become so incredibly good , and at the same time you have reality shows , which have a completely different approach to telling stories . maybe not that different really from an robert altman movie if you think about it . ”
with the proliferation of affordable home recording equipment today , there are more and more unsigned bands than ever before . due to this rapid influx of unsigned artists , coupled with declining record sales , publishers and record companies are more overloaded than ever , and often do not have the time to sift through the mountains of music to find the gems nor do they have the resources to develop and market all of these talented new artists . there is therefore a plethora of extremely talented , yet unsigned and un - published , bands and music artists who are seeking to get their music “out there . ” these indie artists are now seeking out music libraries to help them market their music to film and television .
in 1996 , emmanuel decided to hang up his guitar and look for a
real job ,
as he calls it . he wound up at match music , a production music company in london that was sold a year later to bmg . once again unemployed , emmanuel talked to an acquaintance he ' d met while at match music , an angel investor named mark levinson . emmanuel pitched an idea for a production music company that would up the industry ante by using professional recording equipment and top - notch musicians that emmanuel had met in his decade of touring .
hugo has been commissioned by emi production music uk to compose and produce a film noir album to be recorded at abbey road studios in autumn 2018 .
mailing out condoms wasn ' t emmanuel ' s only hijinks in the early days . at an awards show put on by promax u . k . for tv marketing executives in 1999 , he bought a table front and center of the ballroom . he hired 10 people with dwarfism to attend , outfitting them in extreme music t - shirts emblazoned with the words
size isn ' t everything
on the back . emmanuel and his staff bought tickets for the back of the ballroom and watched the hilarity .
over time , as the media landscape began evolving , converging with the rapidly changing worlds of music and marketing , the need for disruption in the space arose . transitioning into the 1990 ' s , as paradigms started definitively shifting , two experienced musicians and industry veterans noticed the need for an easily licensable catalog of high quality original music . while sitting in a board room brainstorming ideas , russell emanuel birthed a concept that would eventually evolve to stand as the global leader in production music .
what i was really looking for ,
zimmer added ,
and what i didn ' t , of course , tell anybody , is : take that piece of music and ignore it as much as possible . fight with the music ; go and put your own stamp onto it . figure out how to be original .
the market for production music has grown to be worth an estimated $ 2 billion globally , ranging from television and film scoring , to electronic gaming and licensing for commercials .
just as artists are able to create high quality music due to affordable recording technology , so , too , can libraries . libraries which often have a vast network of songwriters , musicians and vocal artists at their disposal can quickly create high quality music at lower prices , thus allowing them to offer competitive licensing fees to diverse film and television projects .
a friend just sent me this article which i hadn’t previously seen . you pose the question and suggest answers to “what do these majors want and need from music libraries” . i think you’ve missed the main reason for the proliferation of production music library acquisitons by the “majors” in recent times . as i see it there are two main reasons . 1 ) it’s the 50 % retain on royalty splits ! also , the fact that more and more “performance” only deals are being offered to composers making this area of music publishing even more attractive to them . 2 ) by comparison to “core” catalog acquisition costs , generally production music libraries are cheap buys . bottom line – nothing more , nothing less !
“there was a real weariness to the old - school way libraries had been turning out copycat music , ” emanuel says . “we were actually committed not to doing that . ”
what i’m really interested to see in the future is how these libraries start indexing , cataloguing and archiving the wealth of music ( good & less good ) that they have .
libraries have been working steadily in this business for many years , but because of their status , they have had to work harder and faster , and usually under the radar . however , clearly today , this hard work is paying off . the fact that the major music publishers have recently acquired so many of the top music libraries demonstrates that libraries have something that the publishers cannot duplicate and therefore must buy . this reinforces the premise that music libraries have not only “arrived” but have today become “power players” within the entertainment , advertising and broadcasting industries .
the shop’s origins go back to 1982 , when russell emanuel was working in the mailroom of london music library bruton music . he was invited to record an album of sound - alike songs , corresponding to such bands as duran duran , and while he spent the next 15 years in the rock world , steady royalty checks from that first album “kept rolling in . ”
register today for billboard ' s 2013 film & tv music conference in los angeles oct . 29 - 30 at the w hollywood use promo code ' biz13 ' to get a special discount .
music can make or break a tv show , movie or even an advertisement . in entertainment media , a perfectly selected song will complement the visuals and dialogue , and enhance the overall impact .
over the past 20 years , we at black toast music have been fortunate to have had a good deal of success placing our music within tv shows , films and ad campaigns . our placements have included songs in multiple episodes of hbo’s “the wire , ” “true blood” and “treme , ” as well as fx’s “the shield , ” showtime’s “dexter” and many more . we are also proud to have our music play a part in almost every episode of the new show “glory daze , ” and we are also excited about our most recent commercial placement in the new national ad campaign for domino’s pizza .
great analysis , bob . it raised a question in my mind . you wrote that “publishers and record companies are more overloaded than ever , and often do not have the time to sift through the mountains of music to find the gems nor do they have the resources to develop and market all of these talented new artists” and that “indie artists are now seeking out music libraries to help them market their music to film and television . ” my question : aren’t libraries in the same boat as publishers and record companies when it comes to finding the gems among unsigned artists ? do you go differently about sifting through all the requests ?
* * and third , and possibly most importantly , in order to provide excellent service to their clients , libraries have created catalogs that cover almost every possible genre a music supervisor might need , making them a one stop shop .
hugo is a graduate of music production from kingston university london ( 2001 ) . he studied piano and composition privately and worked as in - house composer for music production company wise buddah in london . in 2007 he trained with ®emmy - award winning film composer hummie mann in seattle ( pacific northwest film scoring program ) and went on to work for ®emmy - award nominated film composer joey newman in los angeles , which laid his ground for scoring to picture .
greg , i’d be more than happy to discuss and answer any questions you may have in regard to your business model and how it relates to the music library business . i’d be curious to hear how your business model compares or differs from a company like taxi .
all of these acquisitions seem to indicate that these renowned libraries have something that the major publishers want and need . but the question remains– what could a music library possibly have that a company with a catalog as large and prestigious as , say warner / chappell , need ?
this trend to feature unknown “indie” acts in television programming actually began in the mid 90’s , with hit tv shows like “dawson’s creek” and “party of five . ” as a result of the exposure in these shows , many of these bands quickly crossed over into the mainstream . because of this phenomenon in the mid nineties , along with the decline of physical cd sales , indie bands are today more eager than ever to have their music featured in film and television . music libraries have become one of the easiest and most successful ways to get that to happen .
for example , if a music supervisor likes a song but wants to speed up the tempo to match a fast - paced scene , he could do that using customix . previously , he would have had to select a song that already had a tempo to match the scene in his movie .
hans zimmer went looking for the next great screen composer . hear the winning entry the mind behind the music of inception , gladiator and more says he was looking for someone who would take his prompt and
ignore it as much as possible .
he and the winner joined npr ' s rachel martin .
it ' s always been our duty to shake shit up , rip the industry a new one and create music so sexy you ' re going to need a safe word ,
emmanuel says .
if it ' s in our catalog , then it ' s 200 % legit , high - caliber audio ammo .
customix lets music supervisors quickly edit songs they plan to license . the app allows users to adjust the volume to individual elements of a track ( vocals , drums , guitar , bass , etc . ) , change a song ' s tempo without changing its pitch and edit the length of a song without cutting it into pieces .
anyone who goes to the movies know hans zimmer ' s work , even if they don ' t recognize his name right away . zimmer is the composer of the music for man of steel , the lone ranger , 12 years a slave , rush , last love , and the hit tv miniseries the bible . a nd that ' s just in 2013 .
our model is different from taxi . we are a social discovery engine that helps surface the best new music and artists , not a fee - based placement agent ( nothing wrong with that , and maybe those four words don’t do justice to taxi , but the point i’m trying to make is just that : our models are different . ) i can explain further when we talk .
sound and music do the emotional heavy lifting in unscripted shows like a & e’s quacky beardfest . they tell you how to feel , even when acting is sparse , expressions are hidden under camo caps and facial hair , and very little in the way of drama is actually transpiring before your eyes . even at their best , the visual components in reality tv involve a lot of dirty looks and slack - jaw glares .
for me , it ' s always been interesting to find new voices and develop new talent ,
zimmer told npr ' s rachel martin .
what interests me is just people being given a chance to write music , because the only way you can get better at it is if you write all the time . i think it ' ll prove a very good sort of training ground for everybody , and it gives purpose behind actually wanting to be a composer .
®la independent film award , ®nyc independent film award and ®european film award winner hugo de chaire is a british composer working in film and television . he has worked on films with directors including gilles paquet - brenner , paul kowalski and andrew martin , ®oscar - winning writer and producer julian fellowes , and worked for ®emmy - nominated composer joey newman . his music is regularly played by radio stations and tv networks around the world , among others classic fm uk , klassik radio germany and univision across the usa .
proudly , an unorthodox music powerhouse that pound for pound packs a punch that leaves the competition on the ropes begging for mercy . our unrivaled roster includes quincy jones , hans zimmer , sir george martin , snoop dogg , labrinth , rodney jerkins , robbie nevil , ramin djawadi , vince clarke , paul oakenfold , mark mothersbaugh , boris blank , timbaland , brian tyler , michael giacchino , james s . levine , xzibit , blues saraceno , john powell , harry gregson - williams , steve jablonsky , klaus badelt and junkie xl .
given a demo version , i was able to customize a track in under five minutes . after logging in , i first selected a type of music —
celtic punk .
then i picked a song called
craic addict
( craic is an irish term for fun ) . i entered that i wanted the song to be one minute in length , at which point the app smartly adjusted . then i muted the vocals , drums , electric guitars and lowered the volume on the bass . lastly , i dropped the tempo to 120 beats per minute .
today , however , emmanuel finds himself in the unlikely position of being one of the 10 most powerful executives at sony / atv , the world ' s largest music publisher . following its $ 2 . 1 billion acquisition of emi ' s publishing business in june , sony issued a list of the organization ' s executive hierarchy that included the 50 - year - old emmanuel . it also named other sony / atv heavyweights like joe puzio , peter brodsky , john pires , jody gerson , danny strick , jimmy asci and others who directly report to sony / atv chief martin bandier .
when this segment of the industry first emerged in the 1920 ' s and 30 ' s , very few companies existed in the space , and each followed a very basic business model . instead of utilizing talented musicians to create catalogs of original music , these niche production houses would simply replicate the top songs of the time , altering just enough of the sound to avoid getting sued . more notably , these production houses were run by traditional businessmen , instead of experienced musicians or skilled creative minds . thus , the industry was deprived of innovation , and eventually earned the reputation of being a low quality marketplace that was undoubtedly necessary , yet lacked intrigue .
among the hit tv shows to which black toast has provided music are : “true blood” ( hbo ) , “dexter” ( showtime ) , “treme” ( hbo ) , “the shield” ( fx ) , “the wire” ( hbo ) , “the life and times of tim” ( hbo ) , “csi” ( cbs ) , “america’s next top model” ( cw ) “prison break” ( fox ) , “sons of anarchy” ( fx ) , “modern family” ( abc ) “burn notice” ( usa ) , ”cold case” ( cbs ) , “everybody hates chris” ( cbs ) , “my name is earl” ( nbc ) , “nip / tuck” ( fx ) , “dark blue” ( tnt ) , “the young and the restless” ( cbs ) , “general hospital” ( abc ) , and “access hollywood” ( nbc ) .
they grew from a two - man operation to a dominant player in the market , with offices around the world and a library containing tracks by such notables as quincy jones , george martin , and snoop dogg for 15 , 000 original copyrights . emanuel — who sold the company to sony / atv for $ 110 million in 2008 , but remains ceo — is proud of that number .
“we’re very surgical about what we put in the catalog , ” he says . “our biggest competition , who we outperform , have a million copyrights . ”
“i’d like to see us doing a scripted drama . …that’s what we’d really love to do . ”
“it was an organic , natural fit , ” emanuel says of the launch .
the shop occupies a 7 , 500 - sq . - ft . building on zimmer’s campus , with 11 full - time composers on staff , many of them former zimmer apprentices .
“you get more bandwidth , ” he says . “our composers all collaborate with each other , all of them have a different strong point , and it’s getting the score to [ clients ] much quicker . ”