Writing songs that work well and resonate with TV and film scenes, requires a deep understanding of storytelling, emotion, and universality. Crafting lyrics with universal themes—love, loss, hope, struggle—can make your music more appealing for licensing. These themes often align with the narratives of TV shows and films, creating a seamless blend between the audio and visual elements.

Why Universal Themes Matter
Universal themes are those that are broadly relatable and evoke shared human experiences. By writing lyrics that touch on these themes, your music can find a place in a much wider array of scenes and genres than if your music contains more obscure lyrics and subject matter.

TV shows and films often deal with fundamental human experiences, and music that echoes these experiences can amplify the emotional impact of a scene. This really shouldn't be much of a stretch as a songwriter or composer, because chances are, you're already writing songs with universal themes.  After all, universal themes, are universal!

Tips for Writing Lyrics for TV and Film
Focus on the emotional core of your song. Whether it’s love, heartache, triumph, or despair, ensure your lyrics convey deep emotions. Write about experiences that are universally understood and avoid overly specific details that may limit the song’s applicability.

Think about how your song could fit into different narrative contexts. Lyrics that tell a story or evoke a particular mood can be particularly powerful. The dynamics of your song—its crescendos, breakdowns, and overall structure—should complement the visual storytelling. This can make your song a perfect fit for key moments in a scene.

Another thing to keep in mind when writing music for films, in particular, is that less is often more.  This was a point that Supervisor Susan Jacobs brought up in our recent podcast we did together.  Susan said that when writing music for films, make sure there is still room for the dialog to be heard over the song.  Susan said that often times more stripped-down versions of songs, even demos in some cases, work better for films.

If you missed my recent podcast with Susan, you can check that out here:
https://open.spotify.com/episode/0BZb4FyZeISu6eB6nccGfq?si=b8c61b29bf134588

With these principles in mind, let’s explore ten songs that have been licensed, analyzing why they work so well in their respective scenes, how the lyrics relate to what’s happening, and offering key takeaways for musicians looking to get their music licensed. 

​Note: Due to copyright restrictions, I wasn't able to post clips of the scenes and songs I'm referencing, so you'll have to do some research on your own, if you want to reference the scenes I analyze, to see why they work so will with their respective songs.  But they should be pretty easy to find on Netflix, Amazon and so on.

"Don't Stop Believin'" by Journey - "The Sopranos" Finale
In the final scene of "The Sopranos," Tony Soprano sits in a diner with his family. The tension builds as he waits for his daughter to arrive, with various patrons creating a sense of unease. The scene ends abruptly, leaving viewers with a lingering sense of suspense. "Don't Stop Believin'" serves as the perfect backdrop for this iconic scene.

The song’s hopeful lyrics and anthemic melody contrast with the tension in the scene, creating a powerful juxtaposition. The line "Don't stop believin', hold on to that feeling" underscores the uncertainty and tension, suggesting a glimmer of hope amidst the ambiguity. This contrast can be a powerful tool, familiar songs can evoke strong emotions, and deep emotional resonance can add layers to the narrative.

"Mad World" by Gary Jules - In "Donnie Darko"
"Mad World" plays during a montage at the end of the film, capturing the somber and reflective tone of the movie’s conclusion. "Mad World" perfectly complements the film’s melancholic and introspective themes. The haunting piano arrangement and subdued vocals mirror the character’s inner turmoil and the film’s overall mood.

The lyrics, "I find it kind of funny, I find it kind of sad, the dreams in which I'm dying are the best I've ever had," reflect Donnie’s complex emotional state and the film's existential themes. Matching the mood and relevance of the lyrics can deepen the connection, while simplicity in arrangement can be more effective than complexity.

"Bohemian Rhapsody" by Queen - "Wayne’s World"
​In "Wayne’s World," the characters perform an impromptu headbanging session to "Bohemian Rhapsody" while driving in their car. "Bohemian Rhapsody" brings a sense of fun and spontaneity to the scene, perfectly capturing the characters’ carefree and quirky personalities. The song’s dynamic structure also adds an element of unpredictability.

The lyrics, with their dramatic shifts and storytelling, complement the humorous and over-the-top nature of the characters’ antics. Songs that align with character personalities, inject fun, and have cultural significance can create iconic moments.

"Unchained Melody" by The Righteous Brothers -"Ghost"
In "Ghost," "Unchained Melody" plays during the famous pottery scene, where the characters share an intimate and tender moment. "Unchained Melody" enhances the romantic and timeless feel of the scene. The song’s emotional depth and soulful delivery resonate with the characters’ deep connection and love.

​The lyrics, "Oh, my love, my darling, I've hungered for your touch," emphasize the longing and profound bond between the characters, heightening the scene's emotional impact. Romantic themes, timeless appeal, and soulful delivery can significantly enhance intimate scenes.

"Lose Yourself" by Eminem - "8 Mile"
In "8 Mile," Eminem’s "Lose Yourself" plays during pivotal moments, including the final rap battle, highlighting the protagonist’s determination and struggle. "Lose Yourself" captures the essence of the film’s themes of perseverance and overcoming obstacles. The song’s intensity and motivational lyrics align perfectly with the character’s journey.

​The lyrics, "You better lose yourself in the music, the moment, you own it, you better never let it go," reflect the protagonist’s mindset and the high stakes of the scene. Motivational power, intensity, and personal connection can drive narratives forward.


"Home" by Edward Sharpe and the Magnetic Zeros - "The Secret Life of Walter Mitty"
In "The Secret Life of Walter Mitty," "Home" by Edward Sharpe and the Magnetic Zeros plays during a montage of Walter’s travels. The song’s uplifting and whimsical nature perfectly captures the spirit of adventure and self-discovery that defines the film. The folk-pop sound and heartfelt lyrics resonate with the character’s journey, making it an ideal choice.

The lyrics, "Home, let me come home, home is wherever I'm with you," reflect Walter's inner journey of finding where he truly belongs. Uplifting themes, resonance with the character’s journey, and heartfelt lyrics can enhance the spirit of adventure.

"Holocene" by Bon Iver - "The Place Beyond the Pines"
"Holocene" by Bon Iver features in "The Place Beyond the Pines," providing a hauntingly beautiful backdrop for a reflective and poignant scene. The ethereal and introspective qualities of the song enhance the emotional depth of the moment, aligning perfectly with the film’s contemplative tone.

​The lyrics, "And at once I knew I was not magnificent," reflect the character's realization of their own vulnerability and insignificance, deepening the scene's impact. Ethereal qualities, emotional depth, and alignment with the film’s tone can create powerful scenes.

"The Funeral" by Band of Horses - "127 Hours"
In "127 Hours," "The Funeral" by Band of Horses underscores a pivotal moment of introspection and realization for the protagonist. The song’s melancholic yet powerful atmosphere complements the intense emotions of the scene, highlighting the character’s struggle and determination.

The lyrics, "At every occasion, I'll be ready for the funeral," mirror the protagonist's confrontation with mortality and the dire situation he faces. Melancholic atmospheres, complementing intense emotions, and highlighting struggle and determination can enhance pivotal moments.

"First Day of My Life" by Bright Eyes - "Stuck in Love"
In "Stuck in Love," "First Day of My Life" by Bright Eyes plays during a tender and heartfelt moment between characters. The song’s intimate and sincere lyrics, coupled with its simple acoustic arrangement, perfectly capture the vulnerability and warmth of the scene.

The lyrics, "This is the first day of my life, I'm glad I didn't die before I met you," underscore the characters' newfound love and connection, enhancing the emotional resonance. Intimate lyrics, simple arrangements, and capturing vulnerability and warmth can significantly enhance romantic scenes.

"To Build a Home" by The Cinematic Orchestra - "This Is Us"
In the TV series "This Is Us," "To Build a Home" by The Cinematic Orchestra plays during a poignant and emotionally charged scene. The song’s orchestral arrangement and soulful vocals amplify the scene’s emotional weight, creating a powerful and lasting impact.

The lyrics, "And I built a home for you, for me," reflect the themes of family, love, and the passage of time, adding depth to the narrative. Orchestral arrangements, soulful vocals, and amplifying emotional weight can create impactful and memorable scenes.

Summing Up
The right song can transform a scene, adding depth, emotion, and memorability. By understanding why certain songs work so well in their licensed contexts, musicians can craft music that stands out and resonates with both audiences and industry professionals. Whether through contrast, mood matching, character alignment, or motivational power, there are many ways to create music that enhances visual narratives and increases the chances of successful licensing.

For more insights and tips on music licensing, subscribe to our newsletter and stay tuned for our upcoming courses and resources.

Have you ever felt like you’re not getting your fair share from your music? Or maybe you’ve been frustrated with the lack of control you have over your own creations. If these thoughts have crossed your mind, it might be time to consider starting your own music publishing company. 


Here’s why taking this step could be a game-changer for your music career:

Complete Control Over Your Music
One of the biggest advantages of starting your own music publishing company is the complete control it gives you over your music. When you own your publishing company, you make all the decisions about how your music is used, where it’s placed, and how it’s marketed. No more waiting for someone else to decide if your song fits a particular project – you get to be the boss of your music.

For example, remember when Prince famously changed his name to an unpronounceable symbol to take back control of his music? While you might not need to go to such extremes, owning your publishing rights gives you complete control of your music and how it’s used, something many musicians have historically fought for.

Maximizing Earnings
Money isn’t everything, but let’s be honest – it’s pretty important. By owning your music publishing company, you can maximize your earnings. Instead of sharing your royalties with a publisher, you keep a larger slice of the pie. Plus, you have the flexibility to negotiate better deals and explore multiple revenue streams.

Think about it this way – every time your song is played on the radio, streamed online, or used in a commercial, royalties are generated. If you’re the publisher, a significant portion of those royalties goes directly into your pocket.

Flexibility and Freedom
With your own publishing company, you have the flexibility to make decisions that align with your vision and goals. Want to experiment with a new genre? Go for it. Interested in licensing your music for indie films? You can do that too. The freedom to pursue opportunities that excite you without waiting for approval from others is incredibly empowering.

Traditional publishing deals often come with strings attached – you might be locked into a certain style or have limited say in how your music is used. With your own company, you’re free to chart your own course.

Building Your Brand
In today’s music industry, personal branding is crucial. Your brand is more than just your music – it’s your image, your story, and how you connect with your audience. Owning your publishing company allows you to build and control your brand more effectively. You can create a cohesive strategy that reflects who you are as an artist.

For example, look at artists like Taylor Swift and Chance the Rapper, who have built strong personal brands by maintaining control over their music and how it’s presented. Your publishing company can be a key part of your brand’s identity and will allow you to retain complete control over how your music is used.

Long-term Career Growth
Starting your own music publishing company isn’t just about immediate gains – it’s about setting yourself up for long-term success. As your catalog grows, so do your opportunities. You can build a valuable asset that generates income for years to come, and even expand into other areas of the industry.

Think of your publishing company as a foundation for future growth. You might start with a few songs, but over time, you can sign other artists, collaborate on new projects, and explore new markets. The possibilities are endless.

Conclusion
So, what’s stopping you? Starting your own music publishing company might seem daunting, but with the right knowledge and tools, it’s absolutely achievable. If you’re ready to take control of your music career, maximize your earnings, and build a lasting legacy, now is the time to make your move.

To help you get started, I’ve created a comprehensive course called "The Complete Musician’s Guide To Music Publishing", that will be released on Monday, July 22.

This hour-long video course covers everything you need to know, from the basics of music publishing to the intricacies of licensing and royalties. You’ll get insider tips, practical advice, and all the support you need to succeed.

Interested? Pre-order the course between now and Sunday, and save 50% off the full price and get our “Music Licensing Contract Bundle" ($97.00 value) as a free bonus.

Learn more here:
https://www.htlympremium.com/publishing_course.html

Music supervisors are responsible for selecting and licensing music for various media projects, including TV shows, films, commercials, and video games. Their job involves finding songs that fit the project's mood, theme, and budget constraints. By understanding their role and their needs, you can better tailor your pitch to meet their specific needs and preferences.

Research and Target the Right Supervisors
Before you start pitching, it’s crucial to research music supervisors and identify those who work on projects that align with your music style. This targeted approach ensures that you are reaching out to individuals who are more likely to appreciate and use your music.

Here are some detailed steps and tips to help you effectively research and target the right music supervisors:

Identify Your Music Style and Genre
First, have a clear understanding of your own music style and genre. Create a list of keywords that describe your music, such as “indie rock,” “electronic,” “acoustic folk,” etc. This will help you narrow down the types of projects and supervisors who might be interested in your music.

Use IMDb to Find Relevant Projects
IMDb (Internet Movie Database) is an invaluable resource for identifying music supervisors. Start by searching for films, TV shows, and other media projects that feature music similar to yours.

Look at the credits for these projects to find the names of the music supervisors involved. IMDb Pro offers even more detailed information, including contact details and project history, which can be extremely useful for your research.

Leverage LinkedIn for Professional Networking
LinkedIn is another powerful tool for connecting with industry professionals, including music supervisors. Use LinkedIn’s search functionality to find music supervisors by name or by the projects they’ve worked on.

Follow their profiles to stay updated on their latest projects and industry activities. You can also join groups and forums related to music supervision to gain insights and network with other professionals.

Connect with me on Linkedin here.

Explore Professional Organizations
Professional organizations like the Guild of Music Supervisors provide a wealth of information and networking opportunities. The Guild’s website often lists members and their contact information, along with news and events related to music supervision. Attending conferences, webinars, and networking events organized by these groups can help you meet and connect with music supervisors in person.

Use Music Licensing Platforms and Databases
Platforms like Music Gateway, TAXI, and Songtradr provide databases of music supervisors and other industry professionals. These platforms often offer submission services where you can pitch your music directly through their system. Additionally, they provide valuable information about industry trends and supervisor preferences.

Another valuable resource is my website, How To License Your Music Premium, where you can find a wealth of information, courses, and tools specifically designed to help musicians succeed in the world of music licensing.

Create a Targeted List
After gathering all this information, create a targeted list of music supervisors who are most likely to be interested in your music. Include their names, contact information, the types of projects they work on, and any specific notes about their preferences. This list will be your go-to resource when you start pitching your music.

Personalize Your Outreach
When reaching out to music supervisors, personalize each message based on your research. Mention specific projects they have worked on that you admire and explain why you think your music would be a good fit for their future projects. Personalizing your outreach shows that you have done your homework and increases the chances of your pitch being well-received.

Stay Organized and Track Your Efforts
Keep track of your interactions with music supervisors in a spreadsheet or CRM tool. Note down when you contacted them, any responses you received, and follow-up actions. Staying organized helps you manage your pitching efforts efficiently and ensures that no opportunities slip through the cracks.

A great resource to help with this is The Ultimate Music Licensing Starter Pack available on my website. This starter pack includes a submission tracking spreadsheet designed to help you keep detailed records of your pitches and follow-ups. You can find more information about the starter pack and access it here.

By investing time in thorough research and targeting the right music supervisors, you increase your chances of getting your music heard and licensed. This targeted approach not only makes your pitches more effective but also builds a professional reputation that can lead to more opportunities in the future.

Prepare Your Music
Your music should be of the highest quality, professionally mixed and mastered. Additionally, it’s important to have instrumental versions of your tracks available, as well as any necessary metadata. This metadata should include lyrics, credits, and your contact information. Music supervisors need to have all the details at their fingertips to make licensing decisions quickly and efficiently.

Create a Professional Pitch
When creating your pitch, aim for a concise, professional, and personalized approach. Start with a brief introduction about yourself and your music.

Explain why your music is a good fit for the supervisor’s projects, and provide streaming links to your tracks. Avoid attaching large files to emails, as this can be cumbersome for recipients. Instead, use platforms like SoundCloud, YouTube, or a dedicated website to share your music.

Follow Up and Build Relationships
After sending your pitch, it’s important to follow up if you haven’t received a response within a couple of weeks. A polite follow-up email can remind the supervisor of your submission without being intrusive. Building relationships with music supervisors is also key. Engage with them on social media, attend industry events, and show genuine interest in their work. Over time, this can lead to more opportunities and collaborations.
​
Resources for Pitching Your Music
​

• Guild of Music Supervisors: Guild of Music Supervisors
  
  
• IMDb Pro: IMDb Pro
  
  
• LinkedIn: LinkedIn
  
  
• Sonicbids: Sonicbids
  
  
• 2024 Sync Licensing Directory: 2024 Sync Licensing Directory

For more in-depth information on how to contact music supervisors, get The 2024 Sync Licensing Directory, which has an entire section devoted specifically to music supervisor contact information.

Get the directory here.

​By following these steps and leveraging these resources, you can increase your chances of successfully pitching your music to music supervisors and securing more placements.

Good luck!

Aaron Davison
HTLYM Premium
The Sync Lab (Coming soon!)

If you’ve ever thought about taking control of your music licensing career and reaping more rewards from your hard work, starting your own music publishing company could be the perfect move.

Let’s break down the steps to get you started on this exciting journey and dive deeper into how publishing royalties work, the benefits for songwriters, and the nitty-gritty of negotiating your own deals.

1. Understand the Basics of Music Publishing
First things first, you need to get a solid grasp of what a music publishing company does. In essence, a music publisher helps manage the rights to your songs, collects royalties, and pitches your music for licensing opportunities in TV, films, ads, and more. By starting your own company, you’ll be handling these tasks yourself.

2. Legal Structure and Business Plan
Before you dive in, you’ll need to decide on the legal structure of your company. Will you be a sole proprietorship, a partnership, or an LLC? Each has its pros and cons, so choose what fits your situation best. Once that’s sorted, draft a business plan. Outline your goals, target market, revenue streams, and marketing strategies. This plan will be your roadmap.

3. Join Performing Rights Organizations (PROs)
To collect performance royalties, you’ll need to affiliate your company with a performing rights organization (PRO) like ASCAP, BMI, or SESAC. These organizations collect royalties on behalf of songwriters and publishers when their music is played on radio, TV, streaming services, and live venues.

Here’s how you can do it:

ASCAP
Creating a Publisher Account:

1. Visit the ASCAP website and navigate to the "Join" section.
2. Choose "Publisher" and fill out the application form.
3. Pay the registration fee, which is currently $50 for publishers.
   
   

Process:

• You will need to provide your business information, including the legal name of your publishing company and contact details.
• ASCAP will review your application, and once approved, you’ll receive a unique ASCAP publisher account number.
  
  

BMI
Creating a Publisher Account:

1. Go to the BMI website and click on "Join."
2. Select "Publisher" and complete the online application.
3. The registration fee for BMI publishers is $150.
   
   

Process:

• You’ll be asked to provide details about your company and any affiliated songwriters.
• After submitting your application and fee, BMI will process your information and send you confirmation with your publisher account details.
  
  

SESAC
Creating a Publisher Account:

1. SESAC is invitation-only, so you’ll need to contact them directly or be referred by an existing member.
2. Once invited, you’ll fill out the necessary forms and agreements.
   
   

Process:

• SESAC will guide you through their unique registration process.
• Since SESAC operates differently from ASCAP and BMI, you might need additional documentation or referrals.
  
  

4. Register Your Songs
Now that you’re affiliated with a PRO, register your songs with them. This ensures you get paid whenever your music is used. You’ll need to provide details like the song title, writer information, and publishing details.

5. Publishing Royalties Explained
Let’s dive into the nitty-gritty of publishing royalties. There are several types of royalties that publishers collect:

Performance Royalties: These are earned whenever your song is played publicly – on the radio, TV, live venues, or streamed online. PROs collect these royalties and distribute them to songwriters and publishers.

Mechanical Royalties: These are earned from physical or digital sales of your music. Every time your song is sold or streamed, you earn mechanical royalties.

Synchronization Royalties (Sync Royalties): These are earned when your music is licensed for use in TV shows, movies, commercials, video games, etc. Sync royalties are usually negotiated directly between the publisher and the licensee.

6. Songwriter Royalties vs. Publishing Royalties
It’s important to understand the distinction between songwriter royalties and publishing royalties.

Songwriter Royalties: As a songwriter, you earn royalties from the performance and mechanical use of your music. This is typically split 50/50 with the publisher. If you’re self-published, you keep the publisher's share as well.

Publishing Royalties: These are the other half of the split. If you have a traditional publishing deal, your publisher would keep 50% of the total royalties (the publisher’s share) while you, the songwriter, would get the other 50% (the writer’s share). As your own publisher, you get to keep 100% of the royalties.

7. The Benefits for Songwriters

Starting your own publishing company has numerous benefits:

Control: You have full control over how your music is used and who can license it. You’re in the driver’s seat when it comes to making decisions about your music.

Increased Revenue: By handling your own publishing, you keep all the publisher’s share of the royalties. This can significantly boost your income.

Flexibility: You’re not tied down by the terms of a traditional publishing deal. You can negotiate directly with licensees and have the flexibility to adapt to changes in the industry.

Direct Relationships: Building direct relationships with music supervisors, advertising agencies, and other industry professionals can lead to more personalized and lucrative licensing opportunities.

8. Negotiating Your Own Deals
One of the biggest advantages of being your own publisher is the ability to negotiate your own deals. Here’s how you can approach it:

Know Your Worth: Understand the value of your music and the market rates for licensing. This will help you set fair prices and terms for your deals.

Be Prepared: Always have your contracts ready. When negotiating deals, you’ll need to provide licensing agreements, sync contracts, and other legal documents. If you’re not sure where to start, check out my Ultimate Music Licensing Contract Bundle for templates that can help you get started.

Build Relationships: Networking is key. Develop strong relationships with music supervisors, ad agencies, and other potential clients. Personalized connections often lead to better deals.

Be Flexible and Open to Negotiation: Every deal is different. Be prepared to negotiate terms to meet both your needs and those of your client. Flexibility can lead to more opportunities.

Protect Your Rights: Ensure that every deal you make protects your rights and interests. Always read contracts carefully and consider consulting a legal professional if needed.

9. Set Up a Royalty Collection System
Collecting royalties is crucial for any music publishing company.

Here are some resources and tools that can help you manage this process effectively:

PROs (ASCAP, BMI, SESAC): As mentioned earlier, affiliating with a PRO is the first step. These organizations will collect performance royalties on your behalf and distribute them to you.

• ASCAP
• BMI
• SESAC
  
  

Harry Fox Agency (HFA): HFA handles mechanical licensing and royalty collection for publishers. They offer services to help you manage and collect mechanical royalties from digital and physical sales.
​

• Harry Fox Agency
  ​

Songtrust: Songtrust simplifies global royalty collection by registering your songs with multiple PROs and organizations worldwide. They provide a centralized platform to track your royalties and ensure you’re getting paid.

• Songtrust
  
  

Audiam: Audiam focuses on YouTube and other digital platforms, helping you collect mechanical and performance royalties from streams and downloads.

• Audiam
  
  

SoundExchange: This organization collects digital performance royalties from non-interactive streaming services like Pandora and SiriusXM. If your music is played on these platforms, SoundExchange ensures you get paid.

• SoundExchange
  
  

CD Baby Pro Publishing: If you distribute your music through CD Baby, their Pro Publishing service can help you collect global publishing royalties. They register your songs with PROs and other royalty collection agencies.

• CD Baby Pro Publishing
  
  

TuneCore Publishing Administration: Similar to CD Baby Pro, TuneCore’s service helps you collect worldwide royalties by registering your songs with various organizations and managing the royalty collection process.

• TuneCore Publishing Administration
  
  

By using these resources, you can ensure that all your royalty streams are accounted for and collected efficiently.

10. Build a Catalog
Your catalog is your product. Start by compiling all your original songs and registering them with your PRO. The more songs you have, the more opportunities you have to earn. Don’t just stick to one genre – diversify to appeal to a broader market.

11. Network and Market Your Catalog
Networking is key in the music industry. Build relationships with music supervisors, advertising agencies, filmmakers, and other industry professionals who might need your music. Attend industry events, join relevant organizations, and leverage social media to get your music out there.

12. Pitch Your Music
Actively pitch your songs for licensing opportunities. This can involve reaching out to music supervisors directly, submitting your music to libraries, or using platforms designed to connect musicians with licensing opportunities. Be persistent and don’t be discouraged by rejections.

13. Keep Learning and Adapting
The music industry is constantly evolving, and staying informed about the latest trends and technologies is crucial. Whether it’s new royalty collection methods, changes in licensing laws, or emerging music genres, staying ahead of the curve will give you a competitive edge.

Conclusion
Starting your own music publishing company is a big step, but it’s a fantastic way to take control of your music career. With the right knowledge, determination, and a bit of hustle, you can create new revenue streams and open up a world of opportunities for your music. So, what are you waiting for? Get out there and start building your music empire!

I've spent the last several years diving deep into the world of music licensing, and I've seen firsthand how it can transform a musician's career. But today, I want to talk about a different side of the music industry that often gets overlooked. While music streaming platforms like Spotify, Apple Music, and Amazon Music have revolutionized how we consume music, they have also created significant challenges for independent artists. The reality is, music streaming is killing independent artists, and it’s time we face this ugly truth.

The Rise of Music Streaming
Streaming services have taken over the music industry, with platforms like Spotify leading the charge. These platforms offer millions of songs for a nominal monthly fee, making music more accessible than ever. For listeners, this is a dream come true. But for the artists creating this music, it's a different story. The convenience and accessibility of streaming come at a high cost for those trying to make a living from their art.

The Harsh Reality of Streaming Royalties
Let's talk numbers. Spotify pays out approximately $0.003 to $0.005 per stream. To put this into perspective, an artist needs around 250,000 streams just to make $1,000. Even more alarming, it would take roughly 314,167 streams per month for an artist to earn the US federal minimum wage of $1,256.67. For independent artists who don’t have the marketing muscle of major labels, reaching these numbers is often a pipe dream. They find themselves working tirelessly to create and promote their music, only to see minimal financial return. This model is not just unsustainable; it’s exploitative.

Case Studies

Zoe Keating
Zoe Keating is a cellist and composer who has been very transparent about her streaming income. She has shared her earnings from various platforms to highlight the financial struggles that artists face.

Streaming Revenue Breakdown
Keating disclosed that from over 1.5 million streams on Spotify, she earned approximately $12,000. Let's break down the math. Spotify pays between $0.003 and $0.005 per stream. At an average payout of $0.004 per stream, 1.5 million streams would generate around $6,000. However, streaming payouts can vary due to several factors including the listener’s country, the type of account (premium vs. free), and the specific deal an artist has with their distributor or label. When you combine earnings from other platforms like Apple Music and Amazon Music, her total income from 1.5 million streams summed up to around $12,000.

The Financial Reality
Production costs for professional recording, mixing, and mastering can run into thousands of dollars per album. Marketing, PR campaigns, and music videos add significant expenses. For many artists, music is their full-time job, and $12,000 a year from streaming alone is far from sufficient to cover basic living expenses.

Penny and Sparrow
Penny and Sparrow is an American folk band that has shared insights into their financial struggles despite achieving streaming success.

Streaming Revenue Breakdown 
While exact figures for Penny and Sparrow's streaming earnings are not publicly detailed, let’s consider a hypothetical scenario. Suppose the band accumulates 5 million streams in a year. Using the average Spotify payout of $0.004 per stream, 5 million streams would generate around $20,000. This is a gross figure before accounting for any distribution cuts or additional fees. Despite millions of streams, their net income from streaming is insufficient to sustain their careers without supplementary income.

The Financial Reality
Bands often split revenue among multiple members, meaning $20,000 divided among, say, two members equals $10,000 each, which is even less sustainable. Touring, merchandise production, equipment maintenance, and other operational costs further diminish the take-home pay.

Broader Context
Both Zoe Keating and Penny and Sparrow's experiences reflect a broader issue within the music industry: the disconnect between streaming success and financial viability for independent artists. The low per-stream payouts are insufficient to cover the high costs associated with producing and promoting music, let alone providing a sustainable income.

The Unsustainable Model
The current streaming model is unsustainable for most independent artists. It heavily favors major label artists who can accumulate millions of streams and have the financial backing to survive on thin margins. Independent artists, on the other hand, find themselves trapped in a cycle of producing more content for less pay. This model not only undermines the value of music but also discourages creativity and diversity in the industry.

The Need for Fair Compensation
It’s clear that the music industry needs a major overhaul. Streaming platforms must implement fairer compensation models that ensure artists are paid adequately for their work. One potential solution is to adopt a user-centric payment system, where subscription fees are distributed based on the actual listening habits of users, rather than the current pro-rata model. Under the current pro-rata model, all subscription fees are pooled together and then divided based on the total number of streams. This means that a small number of superstars dominate the revenue, while the vast majority of artists receive only crumbs. A user-centric model would allocate a subscriber's fee directly to the artists they listen to, providing a more equitable distribution of revenue.

The Role of Fans and Artists
As musicians and music lovers, we have the power to demand change. Support artists by purchasing their music directly, attending live shows, and advocating for fairer streaming practices. Platforms like Bandcamp allow fans to buy music directly from artists, ensuring they receive a fair share of the revenue.

For independent artists, exploring alternative revenue streams is crucial. Diversifying your income sources can significantly reduce your reliance on streaming revenue and help you build a more sustainable career. One of the most effective ways to achieve this is through music licensing. Licensing your music for TV, film, and commercials can provide a steady and lucrative income stream. Unlike the unpredictable and often minimal earnings from streaming, licensing deals typically offer upfront payments and royalties that can add up over time.

Why Music Licensing is a Great Way to Make Money
Music licensing opens up a world of opportunities. It not only provides a direct revenue stream but also boosts your exposure by placing your music in various media formats that reach diverse audiences. The financial benefits of licensing are compelling—whether it's a sync deal for a TV show, a commercial jingle, or background music for a film, each placement can bring significant earnings. Moreover, licensing deals often come with royalties that continue to pay out long after the initial deal is made.

By tapping into music licensing, you can create multiple revenue streams that offer more stability and predictability than streaming alone. This approach not only enhances your financial health but also allows you to focus more on your creative pursuits without constantly worrying about your next paycheck.

Conclusion
The convenience of music streaming comes at a high cost for independent artists. It’s time we acknowledge the ugly truth and work towards a fairer system that supports the creators we love. If you’re an artist struggling with the realities of streaming, there’s hope. Explore other avenues like music licensing to ensure you get the compensation you deserve.

Navigating the music licensing landscape can be daunting for songwriters and composers. With various contracts and agreements to consider, it's essential to understand what each one entails and how it can impact your career. This guide breaks down the key types of contracts you'll encounter in the music licensing business, helping you make informed decisions and protect your creative work.

1. Synchronization License Agreement

Overview: A Synchronization License Agreement grants a licensee (e.g., a film producer or TV network) the right to synchronize a piece of music with visual media.

Key Points:

• Non-exclusive, non-transferable license.
• Covers use in film, TV, commercials, video games, internet, and streaming.
• Typically includes a one-time fee for the duration of the project’s distribution.
• 
  
  

Use Case: When your music is used as a soundtrack for a movie scene.

2. Master Use License Agreement

Overview: This agreement allows the licensee to use a specific sound recording (master) in synchronization with visual media. It often works alongside a synchronization license.

Key Points:

• Non-exclusive, non-transferable license.
• Covers specific sound recordings.
• Includes a one-time fee for the duration of the project’s distribution.
  
  

Use Case: When a specific recording of your song is used in a TV commercial.

3. Composer Agreement

Overview: This contract is between a composer and a production company, where the composer is hired to create original music for a specific project.

Key Points:

• Original music creation for a project.
• Specifies delivery deadlines and music specifications.
• Includes a work-for-hire provision, transferring all rights to the production company.
  
  

Use Case: When you’re commissioned to score a film or a video game.

4. Music Supervisor Agreement

Overview: This agreement outlines the terms and conditions under which a music supervisor is hired to select and secure music for a production.

Key Points:

• Responsibilities include selecting and securing music rights.
• Involves negotiating fees and obtaining necessary licenses.
• Typically includes a service fee and expense reimbursement.
  
  

Use Case: When a production company hires you to oversee all music-related aspects of a project.

5. Administration Agreement

Overview: This contract is between a music publisher and a songwriter or composer, where the publisher administers the licensing of the compositions, often including sync licensing.

Key Points:

• Publisher administers and licenses compositions.
• Split of income between publisher and songwriter.
• Retains songwriter’s ownership of compositions.
  
  

Use Case: When you want a publisher to handle the administrative side of licensing your music.

6. Co-Publishing Agreement

Overview: Similar to an administration agreement, but the publisher and the songwriter/composer share ownership of the compositions.

Key Points:

• Shared ownership between publisher and songwriter.
• Publisher administers and licenses compositions.
• Split of income and ownership details specified.
  
  

Use Case: When you want to share both ownership and income with a publisher.

7. Library Music License Agreement

Overview: This contract is used when a production company licenses music from a music library, which houses pre-cleared tracks ready for sync licensing.

Key Points:

• Non-exclusive license for pre-cleared music.
• Covers use in various media.
• Typically involves a one-time fee.
  
  

Use Case: When your pre-cleared tracks are licensed from a music library for a documentary.

8. Exclusive Songwriter Agreement

Overview: This contract is between a songwriter and a publisher, where the songwriter grants the publisher exclusive rights to administer and license their compositions, including for sync.

Key Points:

• Exclusive administration and licensing rights.
• Publisher collects all income and pays a share to the songwriter.
• Songwriter retains ownership of compositions.
  
  

Use Case: When you want a single publisher to exclusively manage all licensing and income collection for your music.

9. Work-for-Hire Agreement

Overview: This agreement is used when a composer or songwriter is hired to create music for a project, and all rights to the music are transferred to the hiring party.

Key Points:

• All rights to the created music are transferred.
• Includes specifications and deadlines for music delivery.
• Typically involves a flat fee for services rendered.
  
  

Use Case: When you’re hired to create custom music for an advertisement and transfer all rights to the client.

10. Music Clearance Agreement

Overview: This agreement is used when a production company hires a music clearance specialist to secure the necessary rights for all music used in a project.

Key Points:

• Specialist secures synchronization and master use licenses.
• Specialist negotiates fees and terms with rights holders.
• Includes a service fee and expense reimbursement.
  
  

Use Case: When a production company hires you to handle all music clearance tasks for a feature film.

11. Sub-Publishing Agreement

Overview: This contract is between two publishers where one publisher (the sub-publisher) is given the rights to represent and license the music in a specific territory.

Key Points:

• Exclusive rights to represent and license in a specified territory.
• Split of income between publisher and sub-publisher.
• Involves performance royalties and administration.
  
  

Use Case: When you collaborate with a foreign publisher to license your music in international markets.

12. Exclusive Publishing Agreement

Overview: This agreement is between a songwriter/composer and a publisher, where the publisher gets exclusive rights to administer and license the compositions in perpetuity.

Key Points:

• Exclusive administration and licensing rights.
• Publisher collects all income and pays a share to the songwriter.
• Term is in perpetuity.
  
  

Use Case: When you want a publisher to manage all licensing and income collection for your music indefinitely.

13. Non-Exclusive Publishing Agreement

Overview: This agreement is between a songwriter/composer and a publisher, where the publisher gets non-exclusive rights to administer and license the compositions.

Key Points:

• Non-exclusive administration and licensing rights.
• Split of income between publisher and songwriter.
• Songwriter retains ownership and can license compositions to others.
  
  

Use Case: When you want flexibility to work with multiple publishers while retaining ownership of your music.

Conclusion

Understanding these contracts is crucial for songwriters and composers entering the music licensing business. Each agreement serves a specific purpose and comes with its own set of terms and conditions. By familiarizing yourself with these contracts, you can better protect your work, maximize your income, and navigate the complexities of the music licensing industry.

For those looking to simplify this process, we offer a comprehensive bundle of all these sample contracts, plus four more, tailored specifically for songwriters and composers.

Ensure you're prepared and protected with the right legal agreements for your music licensing endeavors.  Save 75% on the full cost of "Ultimate Music Licensing Contract Bundle" until Sunday only.

Learn more here.

In the not-so-distant past, marketing music involved printing flyers, making countless phone calls, and hoping your demo tape didn't get lost in the mail.

Fast forward to today, and the landscape has dramatically changed. Enter AI—the not-so-secret weapon that can help musicians market their music more effectively than ever before.

Let's dive into the world of AI and how it can be your best bandmate in the quest for musical success.

The AI Revolution in Music Marketing
Artificial Intelligence (AI) has revolutionized various industries, and music marketing is no exception. From analyzing data to predicting trends, AI offers tools that can make marketing more efficient and targeted. But let's be real—AI won't write your next hit song (yet), but it can help ensure more people hear it.

Here’s how:

Personalized Marketing Campaigns
AI excels at analyzing data and identifying patterns. For musicians, this means AI can help create personalized marketing campaigns tailored to specific audiences. Platforms like Spotify and Apple Music use AI to recommend music to users based on their listening habits. As an artist, you can tap into these platforms' advertising tools to reach listeners who are most likely to enjoy your music.

Pro Tip: Use AI-powered tools like ToneDen Music to create targeted ads that resonate with your audience.

Social Media Management
Managing social media can feel like a full-time job, but AI can help lighten the load. AI-powered social media management tools like Hootsuite and Buffer analyze engagement metrics to optimize posting times and content. They even suggest hashtags and trends to increase visibility.
Think of AI as your virtual band manager who doesn’t take a cut of your earnings and never complains about your late-night studio sessions.

Automated Content Creation
Ever feel like there aren't enough hours in the day to create all the content you need? AI can help with that too. Tools like Lumen5 and Promo.com can turn your music, photos, and text into engaging videos in minutes. These platforms use AI to match visuals with the mood and tempo of your music, making content creation faster and more efficient.

Audience Engagement
AI chatbots are becoming increasingly sophisticated and can be used to engage with your audience 24/7. Platforms like ManyChat and Chatfuel allow you to set up automated responses to common questions, freeing you up to focus on creating music. These bots can also collect valuable data on your fans, helping you understand their preferences and behaviors.

Music Analytics
Understanding your audience is crucial for effective marketing. AI-driven analytics tools like Chartmetric provide in-depth insights into who is listening to your music, where they are located, and how they are discovering your tracks. This data can inform your marketing strategies and help you make data-driven decisions.

Pro Tip: Use these insights to plan your next tour or to decide which cities to target with your ads.

AI Music Assistants
For those who want to take it a step further, AI music assistants like LANDR and eMastered can help with mastering your tracks, ensuring they sound professional. These tools use AI to analyze your music and apply the right adjustments to make it sound its best. A polished track is more likely to get picked up by playlists and radio stations, giving you a better shot at reaching a wider audience.

Predictive Analytics
Predictive analytics is like having a crystal ball for your music career. Tools like IBM Watson and Google AI can analyze trends and predict what types of music will be popular in the future. This can help you stay ahead of the curve and create music that resonates with future trends.

Conclusion
AI is not just a buzzword; it’s a powerful tool that can help musicians market their music more effectively. By leveraging AI for personalized marketing, social media management, automated content creation, audience engagement, music analytics, and predictive insights, you can take your music career to the next level.

So, whether you're an indie artist hustling to get your music heard or an established musician looking to streamline your marketing efforts, AI can be your new best friend. And remember, while AI can do a lot, it’s your creativity and passion that will truly set you apart.

I work with a lot of musicians, one on one, coaching them on how to successfully navigate sync licensing in 2024.  I love working with musicians, and by working with them one on one, I’m able to really give musicians very specific advice, tailored to their specific situations.

I’ve been helping musicians license their music in tv and films for 15 years now.  I’ve worked with a lot of musicians, from all over the world.  A lot of musicians I work with seem to have very similar challenges and similar obstacles, when it comes to figuring out how to successfully get started in sync licensing.

Paralysis By Analysis
One of the things I’ve noticed over the years, from working with so many different musicians, is that a lot of musicians seem to suffer from what I call “paralysis by analysis”.  Which is to say, a lot of musicians seem to have a pretty good overall idea of how the music licensing business works, but they’re often not quite sure how to get started and the exact steps to take. This is where I come in.

Whenever possible, I like to break things down to their simplest components.  Although there are a lot of micro steps involved in successfully licensing music, the overall process of getting your music licensed can be broken down into three main steps.  Whenever you’re not moving forward as fast as you’d like to, look at where you are in terms of the following three areas, in order to figure out what to do next.

Three Pillars Of Music Licensing
I’ve discussed this concept before, in previous blog posts and videos, but it’s good to review this concept from time to time. 

Music Licensing really isn’t that complicated.  There are essentially three different things you need to do, or three different “pillars”, as I call them, that you need to be aware of, when it comes to getting your music licensed.

They are:

1. The Music You Make
2. The Production Of Your Music
3. The Marketing Of Your Music

Let’s break each pillar down a bit more:

The music you make:   It obviously all starts with your music.  First and foremost, you need to have “great” marketable music.  This obviously is somewhat subjective and there’s an extremely wide range of music that gets licensed in tv and films, in terms of genres.  There’s a market for pretty much everything when it comes to sync licensing.

To see how wide of a range there is when it comes to sync licensing, start paying attention to the music used in the background of tv shows, ads, films and so on.  You’ll see that there’s a bit of everything that gets licensed.  It depends on the scene, the premise of the show or film, and the taste of the music supervisor selecting the music.  This is why it’s a little hard to teach people how to write for sync, it’s by no means an exact science.

There are of course, some types of songs that get used more frequently than others, in terms of both subject matter and genre, but it’s really all over the map and is very dependent on the specifics of the particular project licensing music. Which is why if you’re trying to write for sync licensing, it’s best to stick to themes that are universal (love, relationships, overcoming obstacles, etc).

The Production Of Your Music:   Music production is obviously a huge topic.  We have multiple courses in our premium site, from two hours to eight hours each, that dive into the nuances of music production in the context of music licensing.  But for the sake of this article, suffice it to say your music needs to be well produced. 

Once you have a catalog of around ten solid tracks or so (the more the better), your next step is to fully produce, mix and master them.  In the context of sync licensing, your tracks need to be fully produced and ready to be licensed.  Like with songwriting and composition, this isn’t an exact science either.  There are many different styles of music production and different producers have different production techniques and different approaches to music production.  But again, simply listen to the type of music that is being licensed, to get a sense for the production quality required to license music into various projects.

The Marketing Of Your Music:   This is where the rubber really meets the road.  Nothing will ever happen if you don’t get your music to the right people.  This seems to be where most artists I work with really get hung up.  Artists are often simply not sure where to start when it comes to getting their music into the hands of industry decision makers.

There isn’t really one right way to go about pitching your music and connecting with people in the industry.  But you do have to start somewhere.   This is an area I tend to help artists with the most. 

Here are a few things to consider before pitching your tracks blindly:

1. What kind of music do you make – Just as there are a lot of different styles of music that get licensed, there are a lot of different types of companies that license music.  There are production music libraries, music publishers, boutique licensing agencies that specialize in very specific genres and so on.  Be sure to do your due diligence when it comes to pitching your tracks.  Make sure you are pitching your tracks to relevant companies that actually work with the kind of music you make and license music in the types of projects you envision your music being licensed into, which leads to the next point…
   
   
2. Where do you see your music being licensed?  Where do you want to license your music?  Where do you actually envision your tracks being licensed?  What are your specific goals in the context of sync licensing?  There is an extremely wide variety of types of sync licensing placements.  From “blanket licensing” deals that pay as little as a few cents per stream, to music that is licensed in commercials that can make as much as 50k per placement. 
   
   It really pays to do your due diligence and actually know what market you are pursuing.  Are you making “production music” and trying to generate revenue by creating a lot of tracks, that collectively add up to a significant revenue stream?  Or are you aspiring to do something like “trailer music”, a niche within the music licensing niche that is much more specialized, but also much more lucrative.  Be sure to submit your music to the types of companies that actually sync music in the types of projects you are interested in.

 
A few thoughts on pitching.  Finally, here are a few thoughts on actually pitching your music. 

-Don’t just blindly pitch your tracks.  This much should already be clear.  Research places to pitch your tracks that make sense, based on the kind of music you make and the types of placements you’re pursuing.

When you reach out, be concise and clear in your message.  I usually limit my initial message to new companies to one or two paragraphs.  Don’t inundate people with a wall of text they have to sort through when reaching out.  Let them know who you are, any relevant credits you have, and why you’re reaching out.

If they work with artists that are similar stylistically to you, let them know that.  If they place music in a tv show you think your music would be a good fit for, let them know that.  Try to make some sort of connection with them beyond simply saying “Hi, I make great music.  Please listen and let me know if you’re interested in working together”.

Put yourself in their shoes.  They’re most likely busy and getting a lot of submissions.  Let them know why they should listen to your and why you think you might be a good fit.

To sum up.  I’ve been working in this business a long time and although different aspects of music licensing have changed, the basics of music licensing have stayed the same:  Make great music, produce it well, and market it well.  Wash.  Rinse. Repeat.

I received an email from a client recently, expressing frustration about the slow and unpredictable nature of music licensing.  This particular client was feeling burnt out about how long it takes to build momentum in licensing and had taken a bit of a break due to burn out.

Here’s what he said: “I guess i was just a bit fatigued from the slow-as-molasses feeling this business has to it...like, one has to basically continually work to see results which may or may not come..months or years down the line.”

I can relate to this feeling so much.  I’ve experienced very similar periods over the years that have elicited similar feelings.  The downside of sync is that it can take a long time to build momentum and it can be very unpredictable. Sync Licensing is the opposite of an instant gratification endeavor.  It can be a long, arduous journey that is ultimately unclimactic. Unclimactic in the sense that often times, it takes so long to get things synced, that by the time you land a placement for a particular track, a couple years have passed, and you’ve already written another 50 songs and you almost forgot about the track you just found out you landed a placement for, six months after the fact!

So, why pursue Sync Licensing?  Does it still even make sense? Well, there are upsides, and in today’s email I want to focus on the positive aspects of sync licensing and help you determine whether sync licensing makes sense for you.  It’s not for everyone to be clear, and it makes more sense for some songwriters/composers than others. It really depends on the kind of musician you are, the kind of music you make, and what your long term goals are related to music.

So, with some of the cons of sync licensing out of the way, let’s focus on the positive aspects of sync licensing, so that you can determine whether or not the pros outweigh the cons.

Passive Income
There are very few truly passive income streams.  The term “passive income” gets thrown around a lot these days, but many income streams that are promoted as “passive” income streams, aren’t really passive at all.  For example, making money online is an income stream that is often described as “passive” income.  But as someone who also makes money online and runs several internet businesses, I can assure you there is absolutely nothing passive about running most online businesses.

Although there are elements that are passive, in the sense that you can, for example, create a course and sell it over and over, hypothetically while you're sleeping or doing other things.  There are still day to day things that you have to do to assure the ongoing success of an online business.  Things like marketing, website maintenance, customer service and so forth, never go away.  If you’re a one-man operation, or a small business, these things can take up a considerable amount of your time.  

Sync licensing, on the other hand, is truly passive, in the sense that once you write, record and sign a track to someone, your work is done.  As I’ve talked about many times, I’ve had songs that I wrote as far back as 20 years ago, that still get synced every single year!  I don’t even have the masters for some of these tracks, yet they still bring in revenue year after year.

Of course, growing your sync licensing business will take ongoing effort and work, but there is a truly passive element to the income you make from sync licensing that is fairly unique.  It’s of course, not easy per se, to build up your revenue from sync, to the point that it’s substantial. There is a lot of work required in the beginning. But there is a truly passive element to sync licensing revenue that is fairly unique.

Long Term Income
Related to the passive nature of sync licensing income, is the fact that if you create a large enough catalog, and market it successfully, you’ll be creating a long-term revenue stream that will continue to generate money, year after year.  Of course, the income you make from any particular track will fluctuate, but if you have a large enough catalog, being pitched to enough projects, you’ll have money continue to come in for years, even if you stop writing new material.

Again, this takes time to build up and you will be doing a lot of work in the beginning to make this happen, but over time, if you play your cards right, you’ll be able to create an income stream that will generate money on an ongoing basis, even if you stop making new music.

You’re Making Music Anyway
For me, this is one of the main reasons I think a lot musicians, if not most, should pursue sync licensing.  If you’re a songwriter or composer, you’re making music anyway!  Why not try to monetize it via sync licensing?  Maybe you don’t end up making a ton of money from sync, but if you’re the kind of musician, like me, that just has to create new music and it’s the kind of thing you would do, whether you make money or not from it, then it’s sort of a no brainier to at least try generating extra revenue via a revenue stream like sync licensing. 

Worst case scenario, you make nothing extra from tracks you would have created anyway, and you’re not really any worse off.  Best case scenario, you make substantial extra money from tracks you would have created anyway, and with the extra money you generate, you feel even more motivated and inspired to keep creating better music. And with extra revenue from sync licensing, you'll be able to continue this cycle of growing as a musician, getting better gear, writing better material, and growing your income.  You really have nothing to lose, other than the time it takes for you to pitch your material.

Builds Credibility
Another upside is that when you start succeeding in sync, it builds credibility, making it easier to secure future placements.  Although progress in sync licensing can be slow, as you do start landing placements over time, it helps you establish yourself within the context of sync licensing. Success in sync can even lead to other opportunities outside of sync licensing.  I often use my sync licensing credits as a way to help book live gigs and to boost my overall credibility as a musician, educator and so forth.

Viable Revenue Stream
Let’s face it, there are only so many ways to make money as a musician in 2024.  There are of course things like performing live, streaming (which is difficult to build up), platforms like Youtube, teaching and licensing.  All of these revenue streams can fluctuate. This is simply the nature of being a self-employed musician. 

My philosophy is that as an indie musician, you really need to tap into as many revenue streams as possible to make things work.  Of course, if one of these revenue streams takes off you can double down on what works and focus on that.  But for many musicians, there is a need to cultivate multiple streams of income, and sync licensing remains, despite the challenges, one of the few viable, and potentially lucrative, ways to make money with your music.

The Bottom Line
The bottom line is that, as my client alluded to, sync licensing can take time, and it can be frustrating while you’re waiting for things to happen.  You have to play the “long game” if you’re going to pursue sync.  It’s best to have other revenue streams you can live from while you’re getting started in Sync licensing, as it can take time to build momentum and start seeing significant income. 

As my very first producer that I worked with, twenty-five years ago, used to always say about the music business, “you have to be in it to win it”.  I remember discussing the uncertainty of the music business with him, long before I started pursuing sync, and he sort of summed up the music business this way.  He said, “the only thing certain I can tell you Aaron, is that if you don’t pursue music, nothing will happen.”.  The implication of course being that if you do pursue music, something might happen. This advice is as true about sync licensing, as any other aspect of the music business.
​
You have to be in it, to win it.