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.
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You have to be in it, to win it.

I was hanging out with another composer friend of mine recently and the topic of sync licensing came up.  My friend suggested that with as many licensing credits as I have (close to 1,000) that I should set up an IMDB page where I list all my credits.  He suggested this would lend even more credibility to my role within the sync licensing space and potentially help me get more placements.

I’m now in the process of listing myself on IMDB and I thought I would share with you all what I’ve learned about the process of listing yourself on IMDB.

Here are the steps involved in listing yourself on IMDB: 
To list yourself on IMDb as a musician with music licensing credits, you'll need to follow the platform's guidelines for creating a new page or adding credits to an existing page. IMDb is a comprehensive database for movies, TV shows, and the professionals who work on them, including musicians. Here's a general guide on how to get listed:

Create an IMDb Account: If you don't already have one, you'll need to create an IMDb account. Go to the IMDb website and sign up.
 
Search for Existing Credits: Before adding new information, search IMDb to see if any of your work or your name is already listed. Sometimes, credits are added by other members of the production team or fans.

Contribute New Information:

• If you are not yet listed on IMDb, you can add yourself by contributing new information. Go to the IMDb Contributor Zone and select the appropriate option to add a new name or credit.
  
  
• If you're adding credits for music licensing, you might be adding these under the soundtrack section or as part of the music department, depending on the nature of your contribution to the project.​

Select the Correct Category: When adding your credits, make sure to select the category that best represents your contribution. For music licensing, this could be under "Music Department" or "Soundtrack" depending on how your music was used.

Provide Verification: IMDb may require verification for the credits you're adding. This could include links to official sources like cue sheets, production notes, or other forms of proof that confirm your involvement in the project.

Submit and Wait for Approval: Once you've submitted your credits, there will be a review process. IMDb's data editors will review your submission to ensure it meets their guidelines. This process can take some time, depending on the volume of submissions they're handling.

Update Your Profile: After your credits are approved and you have a page, you can further enhance your IMDb presence by adding a biography, photos, and other relevant information to make your profile more comprehensive and appealing.

IMDbPro: For more visibility and control over your IMDb page, consider subscribing to IMDbPro. This service offers additional features such as the ability to upload photos, update your contact information, and more detailed control over your profile.
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IMDb values accuracy and completeness, so it's important to submit detailed and verifiable information about your credits. If you encounter any difficulties, IMDb provides help resources and support to guide you through the process.

If you have a significant amount of licensing credits, consider creating an IMDB page that you can send to prospective clients, supervisors, etc.  To be honest, in all my years licensing my music I’ve never once been asked for this, so it’s not exactly a pre-requisite to getting your music licensed.  But anything that helps you appear more credible and established is a good thing, which is why I’ve decided to add myself to IMDB.

Are you looking for more in-depth information about how to make money licensing your music in tv and films? Go premium and take advantage of all of our in-depth courses, monthly webinars with music licensing experts, daily music licensing leads, in depth directories and much, much more.  We have over 200 hours of the most in-depth, cutting-edge information on how to make money licensing your music in tv, films, ads and more you’ll find anywhere.  GO PREMIUM HERE.

I recently found out that one of my songs was used in a made for tv movie called “English Estate”, not once, but twice.  Once in its entirety and once for 31 seconds. I’ve now had songs in dozens of tv shows, video games, commercials and now a film.  I’ve had the goal of placing music in films for a long time, but for some reason this goal has eluded me until now.

I’ve recently been back in the studio working on a new EP, after a bit of a hiatus from writing and recording last year, and my creative juices are flowing again.  Now that I’m back in songwriting mode, I’ve been reflecting on what a long and winding road pursuing songwriting and music licensing has been.

As others and I have said, “sync licensing is a marathon and not a sprint”.  I think the same can be said for pursuing music in general.  It takes time to get good at an instrument.  It takes time to learn how to write songs well. It takes time learn how to produce music well.  It takes time to create a catalog of marketable music.  It takes time to build connections.  It takes time to get things placed.  And so on.

At this point, I don’t really worry that much about any specific song, or specific music library, or specific placement.  My main focus is to continue to get better at songwriting and continuing to create the best music I’m capable of and let the chips fall where they may.

When I finish a batch of new tunes, I shop them to the different libraries and publishers I work with and then I sort of forget about them, until they end up getting used, which can take anywhere from a few months to several years, or even more.  I’ve had songs get placed as many as ten years after I signed them!  Like I said, it’s a marathon.

The funny thing about the song I placed in the film, is that I wrote that particular song, “You’ll Be On My Mind”, over five years ago and when I listen to it now, I cringe a little.  I feel like I’ve become a much better songwriter since then and I’m not chasing placements the way I was back then. As a result, my music, at least to me, sounds a lot better.  It’s more authentic at least.  I’m creating the kind of music I want to create, as opposed to creating music specifically with the goal of licensing my tracks. 

Focus on what you can control:  Creating Music

If your goal is to create a catalog of music that will ultimately create a full-time revenue stream, or even a solid part time income stream, the most important thing you can do is simply continue writing and composing new music.  Since the sync licensing business is such an unpredictable business, and since you ultimately don’t really have control over how or when your music is used, it makes the most sense to just keep creating tracks. 

Let’s imagine two scenarios:

Scenario 1) You write a catalog of 15 tracks, and you sign them to two different music libraries.  A year goes by and nothing at all has happened, you start to get discouraged and decide to take a break from songwriting for a year and then the following year, all of a sudden you get three tracks placed.  This motivates you and you decide to return to songwriting and write another ten tracks, that you then have to shop around and wait to get placed, which could take another year, or more. 

Scenario 2) Now imagine the exact same scenario as above, but instead of getting discouraged and taking a break, you had kept going the whole time and during the year it took to get your initial songs placed, you had another 20 tracks you were able to sign to your existing libraries.  Maybe you also made a few new connections during that time as well and signed to a few other places.  Obviously, this is the best-case scenario of the two scenarios, which is why I don’t really even worry about placements anymore.  It’s out of my hands.

If you’re getting discouraged about pursuing licensing but not getting placements, or as many as you’d like, the only thing you can really do is to simply keep going.  Keep improving as a songwriter/composer.  Keep refining your craft.  Keep creating new music.  Conversely, if you are getting placements and want to continue getting more, the only thing you can really do is focus on continuing to create more tracks.  No matter the circumstances, the only thing you can really do is continue to improve your craft.  If you make that your focus, eventually doors will start to open and things will start to happen.

Check out my track, You’ll Be On My Mind, as featured in the movie English Estate and heard on The Young & The Restless.

And, if you want to check out some of my newer material, here are two new tracks that will be included on my self produced, upcoming EP I'll be releasing later this year.

Stranger In This Place

Dreaming Of A Fantasy

In this post, we delve deeper into identifying your target market and crucially, how to find the right people to submit your music to. This step is critical in bridging the gap between creating music and successfully licensing it. Let's explore how to pinpoint where your music fits and how to get it into the right hands.
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Target Markets: Where Does Your Music Fit?

TV Shows: Analyze different TV genres and their musical needs. For example, a reality show might need upbeat, energetic tracks, while a drama series may require more emotive, subtle scoring. Research current popular shows and identify the music supervisors or production companies behind them.
 
Films: Each film genre has its unique musical requirements. Investigate upcoming film projects and the studios producing them. Pay attention to indie film festivals as they are often more accessible for emerging artists.
 
Commercials: Ads require music that aligns with the brand's identity. Research advertising agencies and the brands they represent. Look for ads that use music similar to yours for a better fit.
 
Emerging Media Platforms: Web series, podcasts, and online content creators frequently look for fresh music. Identify popular content in these categories and note the production teams or channels hosting them.

Understanding Different Genres and Themes

Genre-Specific Targeting: Your music genre can often dictate your primary targets. For instance, classical or instrumental pieces might be more suitable for film scores, while pop and rock tracks might find a better home in TV shows or commercials.
 
Thematic Alignment: Assess the mood and themes your music conveys. Does it fit better with action-packed sequences, emotional scenes, or lighthearted moments? This can guide you to the right type of content.
 
Cultural and Demographic Reach: Your music might resonate more with certain cultural groups or age demographics. This understanding can help in targeting content that caters to these audiences.

Finding the Right Contacts and Submission Tips

Researching Music Supervisors and Producers
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Music Supervisors: These are the key figures in selecting music for TV, films, and ads. Use industry directories, LinkedIn, and credits in media to find their contact information.
 
Production Companies: Especially for films and TV shows, reaching out to production companies can be beneficial. Websites, trade publications, and film credits are good resources.
 
Networking and Industry Events:
Attend film festivals, music conferences, and industry meetups. Networking can lead to direct introductions and valuable contacts.

Join online forums and social media groups dedicated to music licensing and media production.

Utilizing Online Databases and Platforms:
Several online platforms and databases list contact information for music supervisors and production companies. Subscription services like IMDbPro are a good resource.

HTLYM Premium also offers an updated directory of contact information for those working in sync licensing.  Learn more.


Preparing Your Submission

Ensure your music is professionally recorded and mastered.
Create a compelling and concise pitch, highlighting why your music is a fit for their content.

Include links to your music (preferably hosted on professional platforms) rather than attaching large files.

Follow-Up and Professionalism:
After submitting, a polite follow-up email can be effective. However, avoid being overly persistent.  One follow up email, several weeks after your initial submission, is usually sufficient.

Maintain professionalism in all communications. First impressions are crucial in this industry.
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Conclusion
Successfully licensing your music involves not just creating great content but also strategically identifying and reaching out to the right people in your target market. This module has equipped you with the knowledge to find these contacts and effectively present your music for potential licensing opportunities.

The digital era has opened numerous doors for artists to showcase their talent, and releasing cover songs is a great way to bring more exposure to your skills and your brand. However, as exciting as it may be to share your rendition of a popular track, it's crucial to understand the legalities involved in covering and streaming songs. This post aims to guide artists through the process of legally licensing and streaming cover songs.

Understanding Copyright Laws
First and foremost, it's important to grasp the basics of copyright law. The original creator of a song holds the copyright, which includes exclusive rights to reproduce, distribute, and perform the song. When you cover a song, you're essentially reproducing and performing someone else's copyrighted work, which requires permission.

Obtaining Mechanical Licenses
To legally release a cover song, you need a mechanical license. This license allows you to record and distribute your version of the song. In the U.S., mechanical licenses are typically obtained through agencies like The Harry Fox Agency (HFA), Music Reports Inc, Easysong.com, or through the song's publisher directly. These agencies handle the paperwork and ensure royalties are paid to the original songwriters and publishers.

Digital vs. Physical Releases
The process differs slightly for digital and physical releases. For digital releases (like streaming on Spotify or Apple Music), services often secure mechanical licenses on behalf of artists. However, for physical releases (like CDs or vinyl), you must obtain the license yourself.

Performance Rights and Streaming
Streaming a cover song live (like on YouTube, Twitch, or Facebook Live) involves performance rights. This is usually managed by the platform you're streaming on, as they typically have blanket licenses with Performance Rights Organizations (PROs) like ASCAP, BMI, or SESAC in the U.S. Always check the platform's policies to ensure compliance.

Sync Licensing for Videos
If you're creating a music video for your cover, you'll need a synchronization (sync) license in addition to a mechanical license. Sync licenses are obtained from the copyright holder and give you the right to sync their music with your video content. (Again, websites like easysong.com can facilitate this process.)

Royalty Payments and Reporting
When you stream or sell your cover song, you owe royalties to the original songwriter. Through your mechanical license, these royalties are typically calculated and distributed by the licensing agency. Ensure you report your sales and streams accurately to avoid legal complications.

Best Practices
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• Do Your Research: Different countries have different laws. Ensure you understand the requirements specific to your location.
• Seek Legal Advice: If you're unsure, consult with a legal expert specializing in music rights.
• Respect the Original Work: Always credit the original artist and songwriters in your releases.
• Stay Updated: Copyright and licensing laws can evolve. Keep yourself informed of any changes.

Conclusion
Covering and streaming songs is a fantastic way for artists to connect with their audience and pay homage to their musical influences. By understanding and adhering to the legal aspects of licensing, you protect not only yourself but also respect the rights of the original creators.

​Happy covering!

I’m putting the finishing touches on my latest course, “The Complete Musician’s Guide To Making Money With AI”.  The full video course will be released on Monday, January 15.

Pre-Order the course between now and Sunday, January 14 and save 50% off the full price.  You’ll get access to the eBook that is included in the course immediately and get full access to the vide course when it’s released on Monday.

Why I’m Excited About AI As A Musician
One of the most exciting aspects of creating this course was spending time with a lot of different AI tools that are on the market and exploring new ways to create, produce music and market music.

As a musician, I’m really excited about the advent of AI technology, for a number of reasons.  Although, ironically, none of them have to do with AI music creation.  I’m sure the technology will progress, but at this point, the aspect of AI I’m the least excited about as a musician is generating music with AI.  So far, the tools I’ve explored and tried that generate music using AI, just aren’t that impressive. 

At this point, when it comes to my music, I’m only using AI tools to assist with things like music production and music marketing.  Perhaps as the technology evolves, I will incorporate more AI elements into my actual music.  But for now at least, I’m simply using AI to assist me with other aspects of releasing music.  In this post I’ll discuss two AI driven tools that I’m currently using that are proving to be powerful allies in creating and releasing music more efficiently.

A Song A Week
This year, one of my goals related to music, is to write, record and release one new song a week.  This is a goal that I previously wouldn’t have been able to pull off.  But thanks to several different AI driven tools, as well as progress I’ve made in terms of learning how to produce my music better, I can now see a viable path forward.

One of my biggest sources of frustration as a musician and creative, has been my inability to produce music as quickly as I’d like, at a quality level I’m happy with.  I’ve always had this sense that I have way more music inside me than I’m able to release, both for things like licensing opportunities, and just in general.

I make music because I have a deep desire to create.  It’s the best way I know how to explain what drives me as a musician.  I simply love the process of writing and creating music and it’s one of the few passions that I’ve been able to maintain throughout my adult life.  In fact, this desire has only grown stronger.

But there have been times where I’ve felt very stifled and held back as a musician.  For example, I would write a song I really loved, but then struggle to get it recorded quickly.  Or I’d manage to get a song produced that I really loved and felt excited about, but I didn’t have a budget to shoot a music video or a budget to promote the song effectively.  And so on…  I’m sure most musicians can relate to this sense of frustration.

This year, I’m approaching things differently, and I’m pro-actively looking for solutions.  Instead of just banging my head against the wall and getting frustrated, I’m finding ways over or around the obstacles that present themselves.  I see AI technology as an ally in this mission.

Two Powerful AI Tools For Musicians
Ok, with that out of the way, let’s discuss two specific AI tools that you can use as a musician.  These are tools that I’m using for my song a week project and I’ve been really happy with the results I’m getting so far.

My first song of the year, a song I wrote on New Year’s Day, is called “Stranger In This Place”.  I wrote the song on New Year’s Day, and then I spent the rest of last week recording and mixing the track. I was able to finish a mix that I feel is “Youtube ready” and create a music video for the track by Sunday.  One song down, 51 to go!

The Tools I Used…

Landr
For this song, I used Reaper to record and mix the track, and then when I had a mix that I liked, I used Landr, an AI driven mastering tool, to master the track.  I’ve been using Landr a lot the last few weeks and I’m really pleased with the results I’ve been getting with their service.  I mentioned Landr in a previous email and I’m going to be doing a podcast soon with their director of product development.  Learn more about Landr here.
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Runway ML
I used an AI “text to video” program called Runway ML, to generate the music video.  Runway ML allows you to generate video clips, using “text to video” prompts.  You simply describe what you’d like each scene to look like and then it creates a video clip based on your prompt.  It will also generate previews of each scene, prior to generating each video clip, so that you have an idea of what each scene will look like before you render them.
 
These two tools alone have been a game changer for me.  I now have a way to quickly create music videos that are aesthetically pleasing, and with Landr, I have a way to get my mixes sounding even better than I could on my own. 

Now of course, there is still a lot of work involved and I’ll still have to do more work on the mix before I pitch the track for licensing opportunities.  But my goal this year is to grow my social media, and to get more music out into the world that connects with people. Thanks to AI, these goals seem more realistic than ever.

Check out my latest song here:

Check out Landr here.

Check out Runway ML here.

Learn more about my new course, “The Complete Musician’s Guide To Making Money With AI” here.

One of the perks of running my website and having a pretty big newsletter and platform, is that from time to time I get free access to different industry tools and resources. 

The last few months I’ve been putting together a course all about using AI as a musician.  During that process, I’ve had the opportunity to check out a lot of different AI tools on the market for musicians.  I’ll be discussing a lot of them in my soon to be released video course and website all about how to use AI to make more money as a musician, which I’ll be releasing January 15.

But today I have a fun post about an AI driven tool for musicians that is pretty amazing.  A few weeks ago, Landr, a company that offers AI driven mastering online, contacted me and offered me free access to their site and tools, if I would consider promoting their service.

Now, if you’ve been on my email list for any length of time, you’ll know that I rarely promote other products and services.  It’s just not what I do.  But I had a chance to sit down yesterday and actually play around with Landr’s mastering tool, and I’m pretty blown away.

Now, one caveat, which I want to preface upfront, is that I am not a music producer per se.  Yes, I record music and I have a home studio which I use to write and lay down many of the tracks for the songs that I create, which I’ve been doing for many years.  But I’ve never really considered production to be my forte and I typically outsource a lot of the production and mastering for the tracks that I license to other producers.

I realize there is some controversy when it comes to tools like Landr, and I have no doubt there are mastering engineers out there that can outperform what the Landr tool does.  It goes without saying, that in music production, like anything else in life, you get what you pay for.

But, with that said, I have ears and I know what sounds good to me, in terms of production and mastering, and for the price, what Landr does is pretty mind blowing!  Not all musicians have the budget to hire a professional producer and mastering engineer for every track they produce.  A lot of times, probably even the majority of times for indie artists, it’s simply not feasible.  Landr seems like a great alternative for these situations.

I’m going to share with you a few of my own tracks that I mastered yesterday.  All I did, for all three tracks below, is simply upload my tracks to Landr and in about two to three minutes each track was fully mastered, with several different options in terms of volume and mastering style. 

The first track I’m going to show you is a demo for a track that I wrote the day before yesterday.  Now, I want to stress that this is a really rough demo, and a far from finished track.  But I’m showing you this one first so you can really hear the difference with a track that sounded pretty rough to start with.

This will also give you a little insight into my writing and recording process.  What I will typically do when I’m writing a song, especially if I’m really feeling it, is just start making a demo right away.  The first demo is usually pretty rough, as I’m just trying to get my idea down and I’m not really concerned about performance or nailing the takes and so on.  In this initial stage, I’m just fleshing the track out. Sometimes, during this stage, I’ll even record with fans on and noise in the background.  I’m just getting my ideas down with no concern for sonic quality.

Then, when the song is finished, I’ll go back and re-record each track from the initial session, paying more attention to performance, the quality of the recording, noise issues, timing and so forth. 

Then, depending on the track, I might simply send the stems to one of several producers I work with and have them finish the track from there.  Or, I might have one of a few different collaborators add parts to the track, or in some cases I’ll have a different vocalist re-record my vocals, if it’s not quite the right fit for my vocal range.  Every track is different and it’s ultimately about serving the song.

This particular song was just me laying my ideas down.  I started the process of cleaning up the tracks and the timing on some of the guitar takes, but again, it’s rough and raw, even though the arrangement and vision for the song is pretty much finished.
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Here’s my unmastered demo (mp3 version):

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​Now, check out the mastered version that Landr created (mp3 version).  I want to stress, I didn’t do anything else to the track but master it using Landr, which again, took about two minutes to process.

Now, again, I’m not an expert on mastering, but that sounds night and day to me.  The individual parts are much easier to discern.  It’s not just louder, but it’s also brighter.  The drums are crisp.  I can actually hear what I’m getting at with the song and can better imagine what the finished version will sound like. And again, this was just a demo, but it’s a pretty remarkable difference to my ears.
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By the way, this particular track is one I’ll likely find a different vocalist to sing.  If you’re a vocalist and would like to take a stab at the vocals, comment below!

Next, let's check out a track that was a little more fully produced, but still not finished.  This is a track I recorded last year called "And The World Just Turns".  This is a track that I started working on but never finished.  Sometimes this will happen.  I'll start a track and for whatever reason something about it doesn't quite sit right with me and so I don't take the time to completely finish it.  It takes considerable time and energy to complete a track so if I'm not completely feeling it, I will sometimes move onto other tracks that I'm more inspired by.

Anyway, let's hear the before and after.

Here's the original version (mp3):

Again, it's a pretty huge difference.  The mastered version is much clearer and brighter. ​

Ok, finally, let's do one more.  This track is called "Light Ahead" that I did a few years ago with my friend MJ, in his home studio.  We already did some mastering to this track, but I wanted to try this one to see how much of a difference Landr would make.

​Here's our version (mp3):

Now, one caveat about the last two tracks.  These tracks were both tracks that I had on my Youtube channel, but didn't have quick access to the masters. So what I did was I downloaded the mp4 from Youtube, converted that to mp3, and then mastered the converted mp3. 

There was obviously some degradation in quality in going from mp4 and then back to mp3, but what you are hearing is the mastered mp3 version of the mp3 I uploaded To Landr, which in a way makes what Landr does that much more impressive. Landr does a remarkable job both in boosting the volume and cleaning up the EQ of the low quality mp3s I uploaded.

Again, I'm not a producer, but I have ears, and in my opinion Landr is an amazing mastering tool for the money.

Learn more about Landr and get 20% off the regular price here.

For more information on my upcoming course, "The Complete Musician's Guide To Making Money With AI", go here.

Just a quick reminder that December 26 is the deadline for the early bird registration for my upcoming mentorship program, "The Sync Tank", that launches on January 8. 

Sign up by December 26 and save 100 dollars off the full price.

“The Sync Tank”, includes extensive one on one coaching, with training and leads specifically tailored to your music and your situation.  You won't find this sort of customized training on how to license your music anywhere else.

There are limited spots available.

Learn more: https://www.htlympremium.com/sync_tank.html

Creating a successful career in music often requires more than just talent and passion; it involves understanding the industry from different perspectives. For musicians looking to enter the world of sync licensing, a vital piece of advice is to think like a music supervisor. This approach is not just about making music that resonates with audiences but also about understanding how your music fits within various contexts where it can be licensed. 

In today’s post, let’s dive deeper into this concept.

Understanding the Role of a Music Supervisor
A music supervisor is responsible for selecting and licensing music for various media, including films, TV shows, advertisements, video games, and more. Their primary goal is to find music that enhances the narrative, emotion, or branding of the project they are working on. This requires a deep understanding of how music can influence an audience’s perception and experience.

Music supervisors look for tracks that complement and elevate the visual content. This can range from finding a song that perfectly encapsulates the mood of a scene in a movie, to choosing a track that aligns with the brand identity for an advertisement. When you’re writing music specifically for sync licensing, consider how your music can be used in different settings. Is your song suitable for a dramatic movie scene, a light-hearted commercial, or a suspenseful moment in a video game?

My first publisher, who was also my former songwriting teacher at Berklee, used to ask me a really simple question whenever I would send her tracks, which was simply, “Where do you see this song being used?”.  At first this question would throw me off. I was thinking to myself, I don’t know, you’re the publisher, where do you see this song being used. But I eventually realized, what she was really trying to do was to get me to think more about how and where my tracks could be potentially used, so that I would write and create tracks that had the best chance of being synced.  She was encouraging me to think like a music supervisor.

Of course, you don’t always know in advance where or how your songs will be used when you write them, since it’s possible anticipate all the different projects your song could potentially be used in.  But if you’re writing specifically for sync, it’s helpful to think in these terms.  By anticipating what types of projects your music could potentially fit in, it will help you create tracks with better odds of actually being licensed.

Crafting Versatile and Thematically Relevant Music
You should aim to create versatile music that can fit into various themes and contexts. While it’s important to maintain your unique sound and style, consider incorporating elements that make your music adaptable to different scenarios. For instance, a song about universal themes like love, adventure, or struggle can be more easily placed than one with very niche or specific themes.

A great exercise, and one that I suggest anyone interested in writing for sync do on a regular basis, is to simply start paying attention to the music that is used in tv shows and movies that you watch.  When you start to actively pay attention to what types of songs are used in different scenes and different contexts, you’ll develop a better sense of how music supervisors select music for their projects.

Building Relationships and Networking
Understanding the music supervisor’s needs also involves building relationships within the industry. Networking with music supervisors, attending industry events, and staying informed about current trends can provide insights into what supervisors are looking for and how to pitch your music effectively.

As I’ve often discussed in my blogs and videos over the years, my first music publisher for Sync was my songwriting teacher at Berklee.  Although I didn’t actually license any music through her until about 7 years after I finished Berklee, the fact that I knew her made it much easier to get her to check out my music and work with me.  You of course don’t need to personally know everyone you work with in the business, but it helps to form personal relationships when possible. As humans, we’re simply naturally inclined to want to work with and help people we know.

Research and Customization in Pitching
When pitching your music, do your research. Tailor your pitches to the specific needs and preferences of the music supervisor you’re contacting. Demonstrate how your music can solve a problem or enhance their project. Personalized pitches show that you’ve put thought into how your music fits their specific needs.

Staying True to Your Artistic Identity
While adapting to the needs of the industry is important, it’s equally important to stay true to your artistic identity. Your unique voice and style are what will make your music stand out. Balancing commercial appeal with artistic integrity is key.

Conclusion
Thinking like a music supervisor when entering the world of sync licensing is a strategic approach for musicians. It requires understanding the role of music in various media, creating versatile and high-quality music, effective networking and pitching, and balancing commercial needs with artistic integrity. 

By adopting this mindset, you will greatly increase your odds of getting your music licensed.  The music licensing business, like any other business, is ultimately about understanding and serving the needs of your clients. So be sure to take the time to really understand the business and craft music that will work in a variety of contexts and settings.

Warm Regards,
Aaron Davison

Next, one of my favorite songs of the night, their beautiful song “Hummingbird”.  What a great songwriter and lyricist Jeff Tweedy is! Here are just a few lyrics from this beautiful song.  Even if AI could write lyrics like this it would take a human to feel them and relate to them.  

His goal in life was to be an echo
The type of sound that floats around
And then back down like a feather
But in the deep chrome canyons of the loudest Manhattans
No one could hear him
Or anything

So he slept on a mountain
In a sleeping bag underneath the stars
He would lie awake and count them
And the gray fountain spray of the great Milky Way
Would never let him die alone
Remember to remember me
Standing still in your past
Floating fast like a hummingbird

Happy Holidays!
​Aaron Davison