Welcome to the official launch of the Sync Tank!
I hope you're excited to get started. I've put a lot of thought and effort into this program, and my goal over the next 90 days is to give you all the information, tools and resources you need to succeed in licensing your music.
Every day, for the next 90 days, I'll be posting a different lead and twice a week, on Mondays and Thursdays I'll be posting a lesson, assignment and video tutorial. On some days, the lesson and video tutorial will overlap, and on other days they won't.
Once we do our consultation, I'll be able to customize the leads I provide you even more based on the type of music you make, and your specific goals related to licensing your music.
My goal is to present all of the information to you in a way that isn't overwhelming and will allow you to move forward, one step at a time, each day, throughout the 90-day long program.
I suggest having 30 to 60 minutes each day to devote to going through all the information I present and submitting your tracks. But, you can always go back and catch up if you miss a day or two, and all of the information can be reviewed at your convenience right here, from this page.
With that said, let's get started!
Today's Lesson - Study The Market:
One of the keys to licensing music successfully is to have a good grasp on the wide variety of music that actually gets licensed. You need to study the "market" as you would in any other industry to be competitive. A lot of artists are simply making the music they make, with little or no thought to licensing, and then shopping it around here and there, after the fact. After their music is already made. This isn't necessarily wrong. You could license music this way. But taking this approach leaves a lot to luck. Maybe you're writing music that works for licensing, maybe you're not. By studying and really paying attention to music that is being used on a regular basis, you'll get a much clearer idea of what the demands of the music licensing marketplace are and where your music fits in.
Today's Assignment:
Today's assignment is to start really paying attention to music that is used in tv shows, films, commercials and so on. The next movie or TV show you watch, I want you to really focus on the songs that are being used. Notice what songs are used and how they're used. Notice the relationship between the dialog and the lyrics of songs. Notice how the style connects with the period and atmosphere of the scene. Notice how the mood of the music relates to the overall story and theme of the show, movie or commercial you're watching. Get a sense for how it all fits together. Could you see your music being used in this way? Do you have music ready to go that would work in a variety of situations? The first step in succeeding in the licensing industry, is really understanding what kind of music gets licensed and why. Don't just make music and then throw it against the wall, hoping it will stick somewhere. This is a craft. Approach it this way and you'll have much more success.
Related: Also, be sure to check out the tracks we've posted in the music licensing reference library.
Today's Video Tutorial:
Today's video is about how to prepare your tracks for licensing opportunities and the different types of files you'll need when you start pitching your tracks.
I hope you're excited to get started. I've put a lot of thought and effort into this program, and my goal over the next 90 days is to give you all the information, tools and resources you need to succeed in licensing your music.
Every day, for the next 90 days, I'll be posting a different lead and twice a week, on Mondays and Thursdays I'll be posting a lesson, assignment and video tutorial. On some days, the lesson and video tutorial will overlap, and on other days they won't.
Once we do our consultation, I'll be able to customize the leads I provide you even more based on the type of music you make, and your specific goals related to licensing your music.
My goal is to present all of the information to you in a way that isn't overwhelming and will allow you to move forward, one step at a time, each day, throughout the 90-day long program.
I suggest having 30 to 60 minutes each day to devote to going through all the information I present and submitting your tracks. But, you can always go back and catch up if you miss a day or two, and all of the information can be reviewed at your convenience right here, from this page.
With that said, let's get started!
Today's Lesson - Study The Market:
One of the keys to licensing music successfully is to have a good grasp on the wide variety of music that actually gets licensed. You need to study the "market" as you would in any other industry to be competitive. A lot of artists are simply making the music they make, with little or no thought to licensing, and then shopping it around here and there, after the fact. After their music is already made. This isn't necessarily wrong. You could license music this way. But taking this approach leaves a lot to luck. Maybe you're writing music that works for licensing, maybe you're not. By studying and really paying attention to music that is being used on a regular basis, you'll get a much clearer idea of what the demands of the music licensing marketplace are and where your music fits in.
Today's Assignment:
Today's assignment is to start really paying attention to music that is used in tv shows, films, commercials and so on. The next movie or TV show you watch, I want you to really focus on the songs that are being used. Notice what songs are used and how they're used. Notice the relationship between the dialog and the lyrics of songs. Notice how the style connects with the period and atmosphere of the scene. Notice how the mood of the music relates to the overall story and theme of the show, movie or commercial you're watching. Get a sense for how it all fits together. Could you see your music being used in this way? Do you have music ready to go that would work in a variety of situations? The first step in succeeding in the licensing industry, is really understanding what kind of music gets licensed and why. Don't just make music and then throw it against the wall, hoping it will stick somewhere. This is a craft. Approach it this way and you'll have much more success.
Related: Also, be sure to check out the tracks we've posted in the music licensing reference library.
Today's Video Tutorial:
Today's video is about how to prepare your tracks for licensing opportunities and the different types of files you'll need when you start pitching your tracks.
Today's Lead:
Heavy Hitters Music
About: Heavy Hitters Music license a wide variety of music in tv and films, including urban, rap, and hip-hop music. With a wide variety of beats and instrumentals, they work with popular shows and brands to bring a fresh sound to their projects.
Submission Details: https://www.heavyhittersmusic.com/hhm-inquiries-1
Day 2
Today's Lead:
Think Music
About: At THINK Music, Inc., we are an exclusive representation and multi-service licensing and publishing company, aimed at providing the music supervision community with premier (and primarily one-stop) music, from indie artists, publishers, and record labels from around the world. We tend to lean a bit left of center, and we love representing artists of all genres. Our primary focus is music licensing for Advertisements, Television, Film, & Trailers.
We pride ourselves on our close relationships with music supervisors and personally work on each project until the supervisor has found what they need. We are also able to utilize our V.I.P artists and producers to create the perfect song for any type of project.
Submit: Please email all submissions to [email protected] with the subject: SUBMISSIONS / artist's name
Contact: http://thinkmusicgroup.com/#contact
Today's Lead:
Think Music
About: At THINK Music, Inc., we are an exclusive representation and multi-service licensing and publishing company, aimed at providing the music supervision community with premier (and primarily one-stop) music, from indie artists, publishers, and record labels from around the world. We tend to lean a bit left of center, and we love representing artists of all genres. Our primary focus is music licensing for Advertisements, Television, Film, & Trailers.
We pride ourselves on our close relationships with music supervisors and personally work on each project until the supervisor has found what they need. We are also able to utilize our V.I.P artists and producers to create the perfect song for any type of project.
Submit: Please email all submissions to [email protected] with the subject: SUBMISSIONS / artist's name
- A download or streaming link to music
- Website/spotify/facebook links
- Bio, press, touring, one sheet information
- If you own your masters and/or publishing (if you are signed, please list with whom)
- The date your music was/is to be released on an album or single.
- Please know that we receive a large volume of submissions and cannot respond to every email!
Contact: http://thinkmusicgroup.com/#contact
Day 3
Today's Lead:
Black Toast Music
About:
Founded in 1991 by noted musician/composer/producer Bob Mair, Black Toast Music is a leading independent music publisher/production music library located in Los Angeles, CA. Since its launch, the company has placed music in hundreds of television series, including “True Blood,” “Dexter” and “The Wire,” specials and TV movies, dozens of high profile motion pictures, including “Arthur” with Russell Brand, “When In Rome” with Kristen Bell, “I Love You, Phillip Morris,” “Dead Silence,” “Jiminy Glick,” and others, along with videogames, internet advertising campaigns, and numerous, multi-media presentations.
Submit: Contact Bob Mair for submission instructions: [email protected]
Contact: [email protected]
Today's Lead:
Black Toast Music
About:
Founded in 1991 by noted musician/composer/producer Bob Mair, Black Toast Music is a leading independent music publisher/production music library located in Los Angeles, CA. Since its launch, the company has placed music in hundreds of television series, including “True Blood,” “Dexter” and “The Wire,” specials and TV movies, dozens of high profile motion pictures, including “Arthur” with Russell Brand, “When In Rome” with Kristen Bell, “I Love You, Phillip Morris,” “Dead Silence,” “Jiminy Glick,” and others, along with videogames, internet advertising campaigns, and numerous, multi-media presentations.
Submit: Contact Bob Mair for submission instructions: [email protected]
Contact: [email protected]
Day 4
Today's Lesson - Researching Companies:
I've interviewed over 100 people working in the music licensing industry over the last several years. I've interviewed publishers, supervisors and owners and founders of music libraries. When you talk to this many people working in the same industry, certain recurring themes and patterns come up over and over. One of these themes, is that very few musicians take the time to really research and get to know the companies they're reaching out to, when trying to get their music licensed. Most musicians are just randomly contacting companies, submitting there music to anyone and everyone. I've heard from multiple publishers and supervisors that this is a real issue. Most people working in this industry are inundated with submissions and they simply don't have time to listen to everything that is sent to them. If you're not submitting music that is relevant and you're not demonstrating that you've researched the company you're sending your music to, there's a good chance your music won't be heard.
Today's Assignment:
Today's assignment is two-fold. One is to simply spend time researching the companies you are trying to work with. Go to their website, read their bio, listen to the artists they work with, do a google search and find out as much as you can about them. Look at past projects they've worked on, search for upcoming projects when possible. In short, try to learn as much as you can about each company you want to work with prior to submitting your music. Then, when you do reach out, let them know why you think your music is a good fit. Indicate what projects you think your music would be a good match for. If this isn't possible, let them know what it is about your music stylistically that is a good match for their company. In other words, let them know you've taken the time to learn about their company and you want to help them with their needs. Remember, this is a service oriented business. You are in the business of helping people meet their musical needs.
Part two of today's assignment, is to watch today's video tutorial, about how and why to approach music like a business. This video features an excerpt from an interview I did with Joel Feinberg of DeWolfe Music. Warning: Joel uses some pretty harsh language in getting his point across!
Today's Lesson - Researching Companies:
I've interviewed over 100 people working in the music licensing industry over the last several years. I've interviewed publishers, supervisors and owners and founders of music libraries. When you talk to this many people working in the same industry, certain recurring themes and patterns come up over and over. One of these themes, is that very few musicians take the time to really research and get to know the companies they're reaching out to, when trying to get their music licensed. Most musicians are just randomly contacting companies, submitting there music to anyone and everyone. I've heard from multiple publishers and supervisors that this is a real issue. Most people working in this industry are inundated with submissions and they simply don't have time to listen to everything that is sent to them. If you're not submitting music that is relevant and you're not demonstrating that you've researched the company you're sending your music to, there's a good chance your music won't be heard.
Today's Assignment:
Today's assignment is two-fold. One is to simply spend time researching the companies you are trying to work with. Go to their website, read their bio, listen to the artists they work with, do a google search and find out as much as you can about them. Look at past projects they've worked on, search for upcoming projects when possible. In short, try to learn as much as you can about each company you want to work with prior to submitting your music. Then, when you do reach out, let them know why you think your music is a good fit. Indicate what projects you think your music would be a good match for. If this isn't possible, let them know what it is about your music stylistically that is a good match for their company. In other words, let them know you've taken the time to learn about their company and you want to help them with their needs. Remember, this is a service oriented business. You are in the business of helping people meet their musical needs.
Part two of today's assignment, is to watch today's video tutorial, about how and why to approach music like a business. This video features an excerpt from an interview I did with Joel Feinberg of DeWolfe Music. Warning: Joel uses some pretty harsh language in getting his point across!
Today's Lead:
Bodega Sync
About: https://bodegasync.com/
Submit: https://bodegasync.com/apply/
Contact: https://bodegasync.com/contact/
Bodega Sync
About: https://bodegasync.com/
Submit: https://bodegasync.com/apply/
Contact: https://bodegasync.com/contact/
Day 5
Today's Lead:
Marmoset
About: https://www.marmosetmusic.com/our-story
Submit: https://www.marmosetmusic.com/help#artists
Contact: https://www.marmosetmusic.com/contact
Today's Lead:
Marmoset
About: https://www.marmosetmusic.com/our-story
Submit: https://www.marmosetmusic.com/help#artists
Contact: https://www.marmosetmusic.com/contact
Day 6
Today's Lead:
Steele Sync
About: https://steelesync.com/about/
Submit: https://steelesync.com/contact-2/
Contact: [email protected]
Today's Lead:
Steele Sync
About: https://steelesync.com/about/
Submit: https://steelesync.com/contact-2/
Contact: [email protected]
Day 7
Today's Lead:
The Music Playground
About: The Music Playground is geared toward exposing great music and placing it in Film, TV, and other media. With on staff music supervisors, a vast catalog, and close ties to the record industry we are well suited to find the next big hit or the perfect musical fit for your next project. Please take a minute to listen to some music, contact us for a search, and create an account to save playlists and download music.
Submit: http://www.themusicplayground.com/contact/
Contact: http://www.themusicplayground.com/contact/
Today's Lead:
The Music Playground
About: The Music Playground is geared toward exposing great music and placing it in Film, TV, and other media. With on staff music supervisors, a vast catalog, and close ties to the record industry we are well suited to find the next big hit or the perfect musical fit for your next project. Please take a minute to listen to some music, contact us for a search, and create an account to save playlists and download music.
Submit: http://www.themusicplayground.com/contact/
Contact: http://www.themusicplayground.com/contact/
Day 8
Today's Lesson - Professionalism:
I think it's safe to say that most artists, when they go about trying to get their music licensed, are primarily focused on themselves. They're focused on their music and trying to meet their goals. This is completely understandable and it makes total sense. You make music and you're passionate about it and you're passionate about your goal of hearing your music in TV and Films. So, of course you're going to be focused on your music and your goals. However, if you're trying to license your music through different music licensing companies (libraries, publishers, supervisors, etc) it's not just about you and your music. If you're trying to work with someone else professionally, you have to also be aware of the goals and needs of those you're trying to work with. What are their needs and how can you serve them? How can you make their lives easier? How can you help them do their job and help them achieve their goals. When you start to make this shift and keep this in mind in every email exchange, conversation and interaction you have with people in this business, you'll start to make a lot more headway. You'll also start to see more clearly why perhaps you haven't had as much success as you would have liked in the past, if you've only been focused on your music and achieving your own goals.
Today's Assignment:
Today's assignment is an extension of the last assignment. In the previous lesson I talked about how it's important to research companies and demonstrate you've done a little homework before blindly submitting your music to anyone who will listen. This demonstrates you're not just focused on your goals, but that you're also interested in helping others meet their goals. Along the same lines, think about other ways you can demonstrate you are professional and going to be easy to work with. Publishers and Supervisors are looking for musicians who are going to be easy to work with and efficient. One way to demonstrate this is by anticipating the different types of needs of those in the business and having different edits and versions of your tracks ready to go (See the video from Day 1 for more on this topic). Another thing you can do is make a showreel featuring some of your best tracks alongside some of your placements, if you have them, and if not just using stock video footage or other footage that works to accompany your music. Doing things like this will help you stand out from your competition and demonstrate that you're professional and take your craft seriously.
Today's Video Tutorial:
Today's video is a 30-minute video presentation about how to create an effective showreel, featuring producer Gary Gray.
Today's Lesson - Professionalism:
I think it's safe to say that most artists, when they go about trying to get their music licensed, are primarily focused on themselves. They're focused on their music and trying to meet their goals. This is completely understandable and it makes total sense. You make music and you're passionate about it and you're passionate about your goal of hearing your music in TV and Films. So, of course you're going to be focused on your music and your goals. However, if you're trying to license your music through different music licensing companies (libraries, publishers, supervisors, etc) it's not just about you and your music. If you're trying to work with someone else professionally, you have to also be aware of the goals and needs of those you're trying to work with. What are their needs and how can you serve them? How can you make their lives easier? How can you help them do their job and help them achieve their goals. When you start to make this shift and keep this in mind in every email exchange, conversation and interaction you have with people in this business, you'll start to make a lot more headway. You'll also start to see more clearly why perhaps you haven't had as much success as you would have liked in the past, if you've only been focused on your music and achieving your own goals.
Today's Assignment:
Today's assignment is an extension of the last assignment. In the previous lesson I talked about how it's important to research companies and demonstrate you've done a little homework before blindly submitting your music to anyone who will listen. This demonstrates you're not just focused on your goals, but that you're also interested in helping others meet their goals. Along the same lines, think about other ways you can demonstrate you are professional and going to be easy to work with. Publishers and Supervisors are looking for musicians who are going to be easy to work with and efficient. One way to demonstrate this is by anticipating the different types of needs of those in the business and having different edits and versions of your tracks ready to go (See the video from Day 1 for more on this topic). Another thing you can do is make a showreel featuring some of your best tracks alongside some of your placements, if you have them, and if not just using stock video footage or other footage that works to accompany your music. Doing things like this will help you stand out from your competition and demonstrate that you're professional and take your craft seriously.
Today's Video Tutorial:
Today's video is a 30-minute video presentation about how to create an effective showreel, featuring producer Gary Gray.
Today's Lead:
Bopper Music
About: https://www.boppermusic.com/
Submit: https://www.boppermusic.com/contact
Contact: https://www.boppermusic.com/contact
Day 9
Today's Lead:
Sodabox Music
About: https://sodaboxmusic.com/#contact
Submit: https://sodaboxmusic.com/submissions
Contact: https://sodaboxmusic.com/#contact
Today's Lead:
Sodabox Music
About: https://sodaboxmusic.com/#contact
Submit: https://sodaboxmusic.com/submissions
Contact: https://sodaboxmusic.com/#contact
Day 10
Today's Lead:
Play It Loud
About: Play it Loud Music was established in 2006 by music entrepreneur Aaron Bethune. With a life long passion for music, an entrepreneurial spirit, and a background in music performance, Aaron has gained a unique perspective into the power of music and those that create it. In recent years Aaron's book Musicpreneur: The Creative Approach to Making Money in Music has become a text book at select universities and music institutions worldwide.
Submission Guidelines: Contact — PlayItLoudMusic
Today's Lead:
Play It Loud
About: Play it Loud Music was established in 2006 by music entrepreneur Aaron Bethune. With a life long passion for music, an entrepreneurial spirit, and a background in music performance, Aaron has gained a unique perspective into the power of music and those that create it. In recent years Aaron's book Musicpreneur: The Creative Approach to Making Money in Music has become a text book at select universities and music institutions worldwide.
Submission Guidelines: Contact — PlayItLoudMusic
Day 11
Today's Lead:
Arts & Crafts Music Publishing
About: https://acpublishing.ca/
Submit: https://acpublishing.ca/contact/
Contact: https://acpublishing.ca/contact/
Today's Lead:
Arts & Crafts Music Publishing
About: https://acpublishing.ca/
Submit: https://acpublishing.ca/contact/
Contact: https://acpublishing.ca/contact/
Day 12
Today's lesson - Production Quality:
Music production is an important component of getting your music licensed. If you have amazing songs that work great for licensing, but they're not adequately produced for licensing, you won't be able to license them. It's that simple. Your songs need to be ready to go, as is. Knowing this, it's important that you take the time to objectively assess whether your songs are ready to go, production wise. Now music production isn't an exact science. It's somewhat subjective, even among music publishers and supervisors. Different people have different tastes and preferences. It's unlikely that you'll ever please everyone. But with that said, a lot of music that is being submitted to music licensing companies, simply isn't "good enough" production wise. Make sure you're not one of these artists. Take the time to really study the market, get a feel for the production quality of music that is being consistently licensed and make sure your music is on the same level, in terms of the quality of music production. Getting your production quality up to speed might involve improving your own production skills, if you produce your own music, or it might involve working with an outside producer. Whatever the case, make sure you know the quality you're shooting for and do whatever you have to do to get there.
Today's Assignment:
Today's assignment is to study the production quality of music that is being licensed and determine whether or not your tracks meet this standard. There are a few different ways to do this, the easiest is to probably simply check out music libraries websites and listen to the artists they work with. Many publishers and libraries will feature music they work with right on their website. Spend some time really getting to know the market and what music is being licensed where. On day one, I asked you to research and listen to music that's being licensed to get a feel for what kind of music is licensed. Today I want you to research and listen to music and specifically focus on the music production. If you listen to enough music that is being licensed, you'll see there is actually a wide variety, in terms of production quality. Some tv shows and placements have lower standards than others. Typically the more lucrative the placement, the more stringent the standards are in terms of production quality. Make sure your tracks at least meet the minimum standards necessary for music licensing, before you start shopping them around.
Today's Video Tutorial:
Today's video tutorial is about what I like to think of as the "Three Pillars Of Music Licensing". I think there are three main areas you need to master when it comes to successfully licensing your music. They are: songwriting/composition, production and marketing.
Check out the video for more.
Today's lesson - Production Quality:
Music production is an important component of getting your music licensed. If you have amazing songs that work great for licensing, but they're not adequately produced for licensing, you won't be able to license them. It's that simple. Your songs need to be ready to go, as is. Knowing this, it's important that you take the time to objectively assess whether your songs are ready to go, production wise. Now music production isn't an exact science. It's somewhat subjective, even among music publishers and supervisors. Different people have different tastes and preferences. It's unlikely that you'll ever please everyone. But with that said, a lot of music that is being submitted to music licensing companies, simply isn't "good enough" production wise. Make sure you're not one of these artists. Take the time to really study the market, get a feel for the production quality of music that is being consistently licensed and make sure your music is on the same level, in terms of the quality of music production. Getting your production quality up to speed might involve improving your own production skills, if you produce your own music, or it might involve working with an outside producer. Whatever the case, make sure you know the quality you're shooting for and do whatever you have to do to get there.
Today's Assignment:
Today's assignment is to study the production quality of music that is being licensed and determine whether or not your tracks meet this standard. There are a few different ways to do this, the easiest is to probably simply check out music libraries websites and listen to the artists they work with. Many publishers and libraries will feature music they work with right on their website. Spend some time really getting to know the market and what music is being licensed where. On day one, I asked you to research and listen to music that's being licensed to get a feel for what kind of music is licensed. Today I want you to research and listen to music and specifically focus on the music production. If you listen to enough music that is being licensed, you'll see there is actually a wide variety, in terms of production quality. Some tv shows and placements have lower standards than others. Typically the more lucrative the placement, the more stringent the standards are in terms of production quality. Make sure your tracks at least meet the minimum standards necessary for music licensing, before you start shopping them around.
Today's Video Tutorial:
Today's video tutorial is about what I like to think of as the "Three Pillars Of Music Licensing". I think there are three main areas you need to master when it comes to successfully licensing your music. They are: songwriting/composition, production and marketing.
Check out the video for more.
Crucial Music
About: https://www.crucialmusic.com/page/about_us
Submit: https://www.crucialmusic.com/user_sessions/new (Select Account)
Contact: https://www.crucialmusic.com/page/wheres_crucial
About: https://www.crucialmusic.com/page/about_us
Submit: https://www.crucialmusic.com/user_sessions/new (Select Account)
Contact: https://www.crucialmusic.com/page/wheres_crucial
Day 13
Today's Lead:
One Sun Music
About: http://www.onesunmusic.com/
Submit: http://www.onesunmusic.com/contact
Contact: http://www.onesunmusic.com/contact
Today's Lead:
One Sun Music
About: http://www.onesunmusic.com/
Submit: http://www.onesunmusic.com/contact
Contact: http://www.onesunmusic.com/contact
Day 14
Today's Lead:
Anara Publishing
About: https://www.anarapublishing.com/
Submit: https://www.anarapublishing.com/
Contact: https://www.anarapublishing.com/contact/
Today's Lead:
Anara Publishing
About: https://www.anarapublishing.com/
Submit: https://www.anarapublishing.com/
Contact: https://www.anarapublishing.com/contact/
Day 15
Today's Lead:
Heavy Hitters Music
About: Heavy Hitters Music license a wide variety of music in tv and films, including urban, rap, and hip-hop music. With a wide variety of beats and instrumentals, they work with popular shows and brands to bring a fresh sound to their projects.
Submission Details: Submit your tracks via their platform: March 2024 - INQURIES — Heavy Hitters Music
Today's Lead:
Heavy Hitters Music
About: Heavy Hitters Music license a wide variety of music in tv and films, including urban, rap, and hip-hop music. With a wide variety of beats and instrumentals, they work with popular shows and brands to bring a fresh sound to their projects.
Submission Details: Submit your tracks via their platform: March 2024 - INQURIES — Heavy Hitters Music
Day 16
Today's Lead:
Bodega Sync
About: https://bodegasync.com/
Submit: https://bodegasync.com/apply/
Contact: https://bodegasync.com/contact/
Today's Lead:
Bodega Sync
About: https://bodegasync.com/
Submit: https://bodegasync.com/apply/
Contact: https://bodegasync.com/contact/
Day 17
Today's Lesson - Music Licensing Is A Long Term Endeavor:
Music Licensing is a long-term endeavor. It normally takes time to get things rolling. It's not often that an artist decides to start licensing their music and is met with success right out of the gate. Of course, there are exceptions, and anything is possible. But in general, in my experience of working with hundreds of songwriters, it takes time to build momentum in music licensing. It's important that you're aware of this going into things. It can take years to build up your catalog, create connections and get things going to the point where you're making substantial income. Keep this in mind as you're getting started. Be persistent, but also patient.
Today's Assignment:
Today's assignment is really an ongoing assignment. It's a mindset and habit that you need to cultivate. You need to get in the habit of pitching your music on a daily basis. You need to get in the habit of writing and recording new music on a regular basis. You need to get in the habit of developing new contacts and connections in the industry. There are things you can do every single day, to move your career forward. This program make it easy, because I'm giving you leads and videos to watch. You have everything laid out for you. But what else can you do today, right now, that would move your career forward? What phone call could you make? What email could you send? Is there somewhere you could send your music that you've been holding off on? Get in the habit of taking action, every single day. Today's assignment is to pick one new thing, in addition to today's leads, that you can do today that will potentially move your career forward. Maybe you can submit your music to an additional lead by going through the contact info included in the bonus material. Maybe you can spend some time researching new companies you could submit your music to. Maybe you can spend some time recording new material. It's up to you, but pick one extra thing to do today and do it!
Today's Video Tutorial:
Today's video tutorial is about how to stay motivated when you're first starting out in the licensing industry. It can be challenging to stay motivated in the beginning and in this video I break down my strategy for staying motivated and positive.
Today's Lesson - Music Licensing Is A Long Term Endeavor:
Music Licensing is a long-term endeavor. It normally takes time to get things rolling. It's not often that an artist decides to start licensing their music and is met with success right out of the gate. Of course, there are exceptions, and anything is possible. But in general, in my experience of working with hundreds of songwriters, it takes time to build momentum in music licensing. It's important that you're aware of this going into things. It can take years to build up your catalog, create connections and get things going to the point where you're making substantial income. Keep this in mind as you're getting started. Be persistent, but also patient.
Today's Assignment:
Today's assignment is really an ongoing assignment. It's a mindset and habit that you need to cultivate. You need to get in the habit of pitching your music on a daily basis. You need to get in the habit of writing and recording new music on a regular basis. You need to get in the habit of developing new contacts and connections in the industry. There are things you can do every single day, to move your career forward. This program make it easy, because I'm giving you leads and videos to watch. You have everything laid out for you. But what else can you do today, right now, that would move your career forward? What phone call could you make? What email could you send? Is there somewhere you could send your music that you've been holding off on? Get in the habit of taking action, every single day. Today's assignment is to pick one new thing, in addition to today's leads, that you can do today that will potentially move your career forward. Maybe you can submit your music to an additional lead by going through the contact info included in the bonus material. Maybe you can spend some time researching new companies you could submit your music to. Maybe you can spend some time recording new material. It's up to you, but pick one extra thing to do today and do it!
Today's Video Tutorial:
Today's video tutorial is about how to stay motivated when you're first starting out in the licensing industry. It can be challenging to stay motivated in the beginning and in this video I break down my strategy for staying motivated and positive.
Today's Lead:
Play It Loud
About: Play it Loud Music was established in 2006 by music entrepreneur Aaron Bethune. With a life long passion for music, an entrepreneurial spirit, and a background in music performance, Aaron has gained a unique perspective into the power of music and those that create it. In recent years Aaron's book Musicpreneur: The Creative Approach to Making Money in Music has become a text book at select universities and music institutions worldwide.
Submission Guidelines: Contact — PlayItLoudMusic
Play It Loud
About: Play it Loud Music was established in 2006 by music entrepreneur Aaron Bethune. With a life long passion for music, an entrepreneurial spirit, and a background in music performance, Aaron has gained a unique perspective into the power of music and those that create it. In recent years Aaron's book Musicpreneur: The Creative Approach to Making Money in Music has become a text book at select universities and music institutions worldwide.
Submission Guidelines: Contact — PlayItLoudMusic
Day 18
Today's Lead:
Catbeach Music
About: https://catbeachmusic.com/about/
Submit: https://catbeachmusic.com/contact/
Contact: https://catbeachmusic.com/contact/
Today's Lead:
Catbeach Music
About: https://catbeachmusic.com/about/
Submit: https://catbeachmusic.com/contact/
Contact: https://catbeachmusic.com/contact/
Day 19
Today's Lesson - Focus On What You Can Control:
Success in music licensing is part luck and part hard work. My favorite expression about luck is that luck is "when preparation and opportunity meet". You can't really control when luck comes your way. You might get a lucky break tomorrow or you might work hard for months and seem to not be able to catch a break. There's an element of luck and timing that's outside of your control when it comes to music licensing. However, the one thing you can control is the work you put into licensing and the effort you put forth. Focus on the thing you can actually control and change. Do you need to write and record more songs to increase your odds of being successful? Do that. Do you need to cultivate more relationships and connections in the industry? Focus on that. Focus on the things you can actually control and you'll start to get more and more "lucky" breaks.
Today's Assignment:
Today's assignment is to watch a recent webinar I recorded with guitarist and composer Dario Forzato. This webinar was recorded live and made available exclusively to members of How To License Your Music Premium. The webinar is an hour long and Dario goes into detail regarding the mindset and work ethic you need to succeed in music licensing. Dario is based out of LA and has seen a huge amount of success licensing his music in tv and films over the last few years, with hundreds of credits to his resume. Check out the webinar below!
Today's Video Tutorial:
Webinar with guitarist/composer Dario Forzato.
Today's Lesson - Focus On What You Can Control:
Success in music licensing is part luck and part hard work. My favorite expression about luck is that luck is "when preparation and opportunity meet". You can't really control when luck comes your way. You might get a lucky break tomorrow or you might work hard for months and seem to not be able to catch a break. There's an element of luck and timing that's outside of your control when it comes to music licensing. However, the one thing you can control is the work you put into licensing and the effort you put forth. Focus on the thing you can actually control and change. Do you need to write and record more songs to increase your odds of being successful? Do that. Do you need to cultivate more relationships and connections in the industry? Focus on that. Focus on the things you can actually control and you'll start to get more and more "lucky" breaks.
Today's Assignment:
Today's assignment is to watch a recent webinar I recorded with guitarist and composer Dario Forzato. This webinar was recorded live and made available exclusively to members of How To License Your Music Premium. The webinar is an hour long and Dario goes into detail regarding the mindset and work ethic you need to succeed in music licensing. Dario is based out of LA and has seen a huge amount of success licensing his music in tv and films over the last few years, with hundreds of credits to his resume. Check out the webinar below!
Today's Video Tutorial:
Webinar with guitarist/composer Dario Forzato.
Today's Lead:
Soundscape
About: License Unlimited Music for Video & Film | Soundscape
Submit: Soundscape | Artist FAQ
Contact: Soundscape | Contact Us
Day 20
Today's Lead:
Transition Music
About: http://transitionmusic.com/
Submit: https://transitionmusic.com/#submit
Contact: http://transitionmusic.com/contact-2/
Today's Lead:
Transition Music
About: http://transitionmusic.com/
Submit: https://transitionmusic.com/#submit
Contact: http://transitionmusic.com/contact-2/
Day 21
Today's Lead:
ASX Music
About: https://www.asxmusic.com/
Submit: If you're interested in becoming an artist on the roster, please visit https://artists.audiosocket.com/
Contact: https://www.asxmusic.com/
Today's Lead:
ASX Music
About: https://www.asxmusic.com/
Submit: If you're interested in becoming an artist on the roster, please visit https://artists.audiosocket.com/
Contact: https://www.asxmusic.com/
Day 22
Today's Lesson - Subject Matter And Lyrics:
Today's lesson applies to those of you who write music with lyrics and vocals. One of the keys to success in music licensing is really understanding how music is used in the context of licensing. When it comes to songs with vocals, there is almost always a connection between the lyrics of the song being used and whatever is happening in the tv show, film or scene in which the song is placed. Songs tend to play a supporting role in the context of tv and film. Music is used to enhance the scene in which it is used. Knowing this, start to think about themes and story lines that typically come up in tv shows, films and so on. Would your music work in a broad range of situations? Do you naturally write songs that would work for tv and films? Or are your lyrics obscure and about themes that don't normally arise in typical stories, tv shows, films and so on? The more universal your lyrics the better, when it comes to licensing.
Today's Assignment:
Today's assignment is to watch a film or a series, it can be anything really, and pay close attention to the lyrics in the songs that are being used. Notice how the lyrics connect to the theme of the show or film. There is almost always a connection between the lyrics and what's happening in the scene in which a song is being used. Start to really pay attention to this connection and imagine yourself as the music supervisor. Does their song selection make sense? Would you have picked a different song? Do you have music that would have worked as well or even better? The more you can put yourself in the shoes of music supervisors and really understand how and why they pick the songs they do, the better you'll be able to anticipate their needs and write music that works in the context of licensing.
Today's Video Tutorial:
Today's video is about the subject matter of songs used in TV and Films.
Today's Lesson - Subject Matter And Lyrics:
Today's lesson applies to those of you who write music with lyrics and vocals. One of the keys to success in music licensing is really understanding how music is used in the context of licensing. When it comes to songs with vocals, there is almost always a connection between the lyrics of the song being used and whatever is happening in the tv show, film or scene in which the song is placed. Songs tend to play a supporting role in the context of tv and film. Music is used to enhance the scene in which it is used. Knowing this, start to think about themes and story lines that typically come up in tv shows, films and so on. Would your music work in a broad range of situations? Do you naturally write songs that would work for tv and films? Or are your lyrics obscure and about themes that don't normally arise in typical stories, tv shows, films and so on? The more universal your lyrics the better, when it comes to licensing.
Today's Assignment:
Today's assignment is to watch a film or a series, it can be anything really, and pay close attention to the lyrics in the songs that are being used. Notice how the lyrics connect to the theme of the show or film. There is almost always a connection between the lyrics and what's happening in the scene in which a song is being used. Start to really pay attention to this connection and imagine yourself as the music supervisor. Does their song selection make sense? Would you have picked a different song? Do you have music that would have worked as well or even better? The more you can put yourself in the shoes of music supervisors and really understand how and why they pick the songs they do, the better you'll be able to anticipate their needs and write music that works in the context of licensing.
Today's Video Tutorial:
Today's video is about the subject matter of songs used in TV and Films.
Today's Lead:
Noma Music
About: https://nomamusic.com/
Submit: https://nomamusic.com/submission-policy
Contact: [email protected]
Day 23
Today's Lead:
Cantaloupe Music Licensing
About: Cantaloupe Music is the record label created and launched in March 2001 by the three founders of New York's legendary Bang on a Can organization—composers Michael Gordon, David Lang and Julia Wolfe—with Bang on a Can managing director Kenny Savelson. Cantaloupe Music has made a massive impact in the new music community, and has been recognized by critics and fans worldwide for its edgy and adventurous sounds.
Our goal is to provide a home for contemporary classical and post-classical music that is, in the words of Michael Gordon, “too funky for the academy.” Throughout its nearly 15-year history, Cantaloupe has repeatedly received Top Ten of the Year accolades from such publications as the New York Times, the New Yorker, the Washington Post, the Boston Globe, The Guardian (UK), The Wire (UK), Newsday, Mojo magazine, Gramophone, Billboard, Stereophile and Time Out New York. Cantaloupe releases have also been featured on CNN, National Public Radio, the BBC, Pitchfork.tv and numerous outlets online, in print and over the airwaves.
Cantaloupe Music has placed music in a wide variety of film, television, advertising, and performing arts productions, including HBO's Deadwood, Academy Award-winning director Steve McQueen's Hunger (2008), Paolo Sorrentino's Best Foreign Language film The Great Beauty (2013), and many more. Cantaloupe's diverse catalog of impeccably recorded instrumental music and compelling collection of vocal music positions the label as an emerging creative source for directors, music supervisors, choreographers and producers. From the definitive recordings of works by Steve Reich and Terry Riley to the progressive sounds of New York's Bang On A Can All-Stars, Cantaloupe Music offers edgy, eclectic and visionary music to fit almost any project.
Submit: https://cantaloupemusic.com/licensing
Contact: https://cantaloupemusic.com/licensing
Today's Lead:
Cantaloupe Music Licensing
About: Cantaloupe Music is the record label created and launched in March 2001 by the three founders of New York's legendary Bang on a Can organization—composers Michael Gordon, David Lang and Julia Wolfe—with Bang on a Can managing director Kenny Savelson. Cantaloupe Music has made a massive impact in the new music community, and has been recognized by critics and fans worldwide for its edgy and adventurous sounds.
Our goal is to provide a home for contemporary classical and post-classical music that is, in the words of Michael Gordon, “too funky for the academy.” Throughout its nearly 15-year history, Cantaloupe has repeatedly received Top Ten of the Year accolades from such publications as the New York Times, the New Yorker, the Washington Post, the Boston Globe, The Guardian (UK), The Wire (UK), Newsday, Mojo magazine, Gramophone, Billboard, Stereophile and Time Out New York. Cantaloupe releases have also been featured on CNN, National Public Radio, the BBC, Pitchfork.tv and numerous outlets online, in print and over the airwaves.
Cantaloupe Music has placed music in a wide variety of film, television, advertising, and performing arts productions, including HBO's Deadwood, Academy Award-winning director Steve McQueen's Hunger (2008), Paolo Sorrentino's Best Foreign Language film The Great Beauty (2013), and many more. Cantaloupe's diverse catalog of impeccably recorded instrumental music and compelling collection of vocal music positions the label as an emerging creative source for directors, music supervisors, choreographers and producers. From the definitive recordings of works by Steve Reich and Terry Riley to the progressive sounds of New York's Bang On A Can All-Stars, Cantaloupe Music offers edgy, eclectic and visionary music to fit almost any project.
Submit: https://cantaloupemusic.com/licensing
Contact: https://cantaloupemusic.com/licensing
Day 24
Today's Lead:
Grayson Music
About: https://graysonmusicgroup.com/
Submit: https://graysonmusicgroup.com/contact/
Contact: https://graysonmusicgroup.com/contact/
Today's Lead:
Grayson Music
About: https://graysonmusicgroup.com/
Submit: https://graysonmusicgroup.com/contact/
Contact: https://graysonmusicgroup.com/contact/
Day 25
Today's Lesson - Instrumental Mixes:
When submitting songs with vocals to music libraries and publishers, if accepted, you will almost invariably be asked to supply instrumental mixes of your tracks. The reason you'll be asked for the instrumental versions, is that you are effectively doubling your chances of having your track used, when you also have an instrumental version. Instead of only being able to pitch to opportunities where a vocal version with lyrics is needed, your publisher or library will also be able to pitch to projects and opportunities where instrumental music is needed.
Of course simply taking out a vocal track in a song with lyrics isn't exactly the same as writing instrumental music and instrumental cues. But you'd be surprised the number of different opportunities that open up for you when you also have instrumental versions of your songs.
For example, I wrote a vocal track several years ago, that due to a falling out with the vocalist I was working with, I never ended up finishing. On a whim, I submitted the instrumental version to my publisher. This track has ended up getting more placements and uses than any other single track I've ever written. It was completely unexpected, but the instrumental version has been placed hundreds of times in a variety of sports shows and sports related programs. Check out the track, Up To You, below
Today's Lesson - Instrumental Mixes:
When submitting songs with vocals to music libraries and publishers, if accepted, you will almost invariably be asked to supply instrumental mixes of your tracks. The reason you'll be asked for the instrumental versions, is that you are effectively doubling your chances of having your track used, when you also have an instrumental version. Instead of only being able to pitch to opportunities where a vocal version with lyrics is needed, your publisher or library will also be able to pitch to projects and opportunities where instrumental music is needed.
Of course simply taking out a vocal track in a song with lyrics isn't exactly the same as writing instrumental music and instrumental cues. But you'd be surprised the number of different opportunities that open up for you when you also have instrumental versions of your songs.
For example, I wrote a vocal track several years ago, that due to a falling out with the vocalist I was working with, I never ended up finishing. On a whim, I submitted the instrumental version to my publisher. This track has ended up getting more placements and uses than any other single track I've ever written. It was completely unexpected, but the instrumental version has been placed hundreds of times in a variety of sports shows and sports related programs. Check out the track, Up To You, below
Today's Lead:
Atrium Music
About: Artist driven music library Licensing in TV shows, Films and commercials.
Submit: Submit New Music For Licensing - Atrium Music
Contact: Contact Atrium Music - Music Licensing Requests
Day 26
Today's Lead:
Pure Sync
About: Pure Sync | About Us | Music Supervision & Sync Licensing
Submit: Pure Sync | Submit Music for placement opportunities
Contact: Pure Sync | Contact us
Today's Lead:
Pure Sync
About: Pure Sync | About Us | Music Supervision & Sync Licensing
Submit: Pure Sync | Submit Music for placement opportunities
Contact: Pure Sync | Contact us
Day 27
Today's Lead:
Figure & Groove
About: Figure & Groove
Submit: Figure & Groove | contact 2024
Contact: Figure & Groove | contact 2024
Today's Lead:
Figure & Groove
About: Figure & Groove
Submit: Figure & Groove | contact 2024
Contact: Figure & Groove | contact 2024
Day 28
Today's Lead:
Bank Robber Music
About: About/Contact - Bank Robber Music
Submit: About/Contact - Bank Robber Music
Contact: About/Contact - Bank Robber Music
Today's Lead:
Bank Robber Music
About: About/Contact - Bank Robber Music
Submit: About/Contact - Bank Robber Music
Contact: About/Contact - Bank Robber Music
Day 29
Today's Lesson - Styles Of Music:
The style of music you create, will, to a large part, dictate the types of placements your music will work for. For example, if you write music that is reminiscent of classic rock music from the 60s and 70s, your music will work best for movies or tv shows set in that time period or in movies or tv shows who have older character that listen to music from that era. This is a generalization of course, there are always exceptions, but typically the music used will stylistically represent the era the show or film is set in. For example, last night I watched the film The Hangover with my girlfriend, who had never seen the film, and I paid close attention to the music throughout the film. The movie is obviously a lighthearted comedy set in the present day (when it was released) and the main characters are fun loving, carefree, slightly older friends that are out to have a good time in Las Vegas. The soundtrack reflects this storyline and its characters, and mainly consists of Hip Hop, Urban an Dance music. It's the sort of music you would expect to hear in a movie about a group of friends that are partying in Vegas. When you're writing music that you hope to license, it's import to keep in mind how the style of music you create will affect your potential placement opportunities. If you're writing music that sounds dated and is not contemporary this will likely limit your placement opportunities. If you're writing music that sounds like it's from the 20s or 30s, then it will most likely only work in films or shows set in that time period. A question my publisher often asks me when I pitch her new music is where I would see the song or songs being used. At first the question through me off, but it's a good thought experiment when writing new material. It's important to think about where and how each song or composition you create could potentially be used.
Today's Assignment:
Today's assignment is to start paying attention to the style of music used in different shows and films. The next time you watch a movie, notice the style of music used and notice the connection between not just the lyrics, but also the style of music and the overall story-line and when and where the movie is taking place. The more you start to notice the link between the style of songs that are licensed and how and why they are used, the better you'll understand where your music could potentially fit into things.
Today's Video Tutorial:
Today's video tutorial is about, you guessed it, Styles of music in the context of music licensing.
Today's Lesson - Styles Of Music:
The style of music you create, will, to a large part, dictate the types of placements your music will work for. For example, if you write music that is reminiscent of classic rock music from the 60s and 70s, your music will work best for movies or tv shows set in that time period or in movies or tv shows who have older character that listen to music from that era. This is a generalization of course, there are always exceptions, but typically the music used will stylistically represent the era the show or film is set in. For example, last night I watched the film The Hangover with my girlfriend, who had never seen the film, and I paid close attention to the music throughout the film. The movie is obviously a lighthearted comedy set in the present day (when it was released) and the main characters are fun loving, carefree, slightly older friends that are out to have a good time in Las Vegas. The soundtrack reflects this storyline and its characters, and mainly consists of Hip Hop, Urban an Dance music. It's the sort of music you would expect to hear in a movie about a group of friends that are partying in Vegas. When you're writing music that you hope to license, it's import to keep in mind how the style of music you create will affect your potential placement opportunities. If you're writing music that sounds dated and is not contemporary this will likely limit your placement opportunities. If you're writing music that sounds like it's from the 20s or 30s, then it will most likely only work in films or shows set in that time period. A question my publisher often asks me when I pitch her new music is where I would see the song or songs being used. At first the question through me off, but it's a good thought experiment when writing new material. It's important to think about where and how each song or composition you create could potentially be used.
Today's Assignment:
Today's assignment is to start paying attention to the style of music used in different shows and films. The next time you watch a movie, notice the style of music used and notice the connection between not just the lyrics, but also the style of music and the overall story-line and when and where the movie is taking place. The more you start to notice the link between the style of songs that are licensed and how and why they are used, the better you'll understand where your music could potentially fit into things.
Today's Video Tutorial:
Today's video tutorial is about, you guessed it, Styles of music in the context of music licensing.
Today's Lead:
North Note
About: INFO — North Note
Submit: INFO — North Note (Artists Contact)
Contact: INFO — North Note
Day 30
Today's Lead:
Wolf House Songs
About: Wolf House Songs was founded by music publishing veteran Adam Wolf as a boutique music publishing and licensing company specializing in film, TV, and advertising synchronization of independent song catalogs, from legacy gems to unique and interesting music from around the globe. We work with music we like, placing authenticity and artistry first.
Wolf has placed music in thousands of projects from block-buster feature films, television shows, trailers, and commercials, and has nurtured close relationships with the decision makers in the industry who come to him knowing they will find music that is carefully chosen and curated to meet the creative needs and time constraints that are the nature of the business.
Submit: Streaming links to [email protected]
Contact: [email protected]
Today's Lead:
Wolf House Songs
About: Wolf House Songs was founded by music publishing veteran Adam Wolf as a boutique music publishing and licensing company specializing in film, TV, and advertising synchronization of independent song catalogs, from legacy gems to unique and interesting music from around the globe. We work with music we like, placing authenticity and artistry first.
Wolf has placed music in thousands of projects from block-buster feature films, television shows, trailers, and commercials, and has nurtured close relationships with the decision makers in the industry who come to him knowing they will find music that is carefully chosen and curated to meet the creative needs and time constraints that are the nature of the business.
Submit: Streaming links to [email protected]
Contact: [email protected]
Day 31
Today's Lead:
Lyric House
About: Contact — Lyric House
Submit: Contact — Lyric House
Contact: Contact — Lyric House
Today's Lead:
Lyric House
About: Contact — Lyric House
Submit: Contact — Lyric House
Contact: Contact — Lyric House
Day 32
Today's Lesson - Metadata:
Today let’s talk about the really fun and stimulating topic of metadata. I hope you catch my sarcasm. It might not be a fun and exciting topic, but when it comes to licensing your music, it is important. So, what is “metadata”? Metadata refers to the data and information that describes your tracks. It contains information like artist name, song name, album name, genre, who your songs sound like and so on. It’s the sort of descriptive data that helps potential clients find your tracks and it also tells publishers and supervisors who you are, how to contact you and so on.
There’s basically two different types of metadata. The first kind of metadata is the information you embed into your tracks property fields so that when people play your tracks in media players like Itunes or Windows Media Player they’ll know the song name, who the artist is, how to contact you and so on. This is something everyone who is trying to license their music should do by default, for every song you start pitching.
To tag your tracks, so that the metadata is embedded into your file, simply right click on the track, open the details tab, and enter as much information as possible. You can fill out fields for artist name, album name, genre, bpm, publisher info, your website and so on. The more you can fill out the better. Make it as easy as possible for people listening to and screening your music to find you.
You might be thinking, but why do I need to do this if I’m going to email someone my tracks. Won’t they know it’s from me if they get an email from me? Well, they might. But what if someone downloads your tracks, forgets who it came from and goes back to the listen to your songs that are now on their hard drive six months later. As I’ve stated before, most publishers and supervisors are dealing with a very high volume of music. Things frequently get misplaced.
Tagging your tracks with the track’s metadata is sort of like the digital version of putting your contact information directly on your CD back when CDs were the norm. Some of you might be too young to remember this, but back when I was starting out in the music business many years ago, the norm when it came to trying to get gigs, license music and so on, was to send CDs out. It was important to have all your contact info clearly labeled on the CD. That way, if someone opened your package, took out your CD and had it lying on their car seat a few weeks later, they could easily figure out who the CD came from and how to get ahold of the artist if they liked it. It’s the same idea with tagging your tracks.
I frequently get files of music sent to me from clients for my music marketing company, Music Pitchers, with no artist name in the file. When I download files it goes into my download folder. I normally organize it right away and move the music into a corresponding folder that I have set up for each artist I work with. But, sometimes I get busy and I forget to do this.
When there’s no name or no metadata in the tracks I have no idea who the music belongs to. I now make it very clear to all the artists I work with that they need to put their name in the file name of the files they send me and it’s no longer an issue. But if you’re pitching your music to someone new you want to make it as easy as possible for them to easily access as much information about your tracks as possible, so be sure to properly embed as much information as you can about your tracks into your track’s properties.
Today's Assignment:
Today's assignment is to make sure all your tracks and files have the relevant metadata embedded into your tracks. See above for details on how to do this.
Today's Video Tutorial:
Today's video is a video version of today's lesson and goes into a bit more detail on this topic.
Today's Lesson - Metadata:
Today let’s talk about the really fun and stimulating topic of metadata. I hope you catch my sarcasm. It might not be a fun and exciting topic, but when it comes to licensing your music, it is important. So, what is “metadata”? Metadata refers to the data and information that describes your tracks. It contains information like artist name, song name, album name, genre, who your songs sound like and so on. It’s the sort of descriptive data that helps potential clients find your tracks and it also tells publishers and supervisors who you are, how to contact you and so on.
There’s basically two different types of metadata. The first kind of metadata is the information you embed into your tracks property fields so that when people play your tracks in media players like Itunes or Windows Media Player they’ll know the song name, who the artist is, how to contact you and so on. This is something everyone who is trying to license their music should do by default, for every song you start pitching.
To tag your tracks, so that the metadata is embedded into your file, simply right click on the track, open the details tab, and enter as much information as possible. You can fill out fields for artist name, album name, genre, bpm, publisher info, your website and so on. The more you can fill out the better. Make it as easy as possible for people listening to and screening your music to find you.
You might be thinking, but why do I need to do this if I’m going to email someone my tracks. Won’t they know it’s from me if they get an email from me? Well, they might. But what if someone downloads your tracks, forgets who it came from and goes back to the listen to your songs that are now on their hard drive six months later. As I’ve stated before, most publishers and supervisors are dealing with a very high volume of music. Things frequently get misplaced.
Tagging your tracks with the track’s metadata is sort of like the digital version of putting your contact information directly on your CD back when CDs were the norm. Some of you might be too young to remember this, but back when I was starting out in the music business many years ago, the norm when it came to trying to get gigs, license music and so on, was to send CDs out. It was important to have all your contact info clearly labeled on the CD. That way, if someone opened your package, took out your CD and had it lying on their car seat a few weeks later, they could easily figure out who the CD came from and how to get ahold of the artist if they liked it. It’s the same idea with tagging your tracks.
I frequently get files of music sent to me from clients for my music marketing company, Music Pitchers, with no artist name in the file. When I download files it goes into my download folder. I normally organize it right away and move the music into a corresponding folder that I have set up for each artist I work with. But, sometimes I get busy and I forget to do this.
When there’s no name or no metadata in the tracks I have no idea who the music belongs to. I now make it very clear to all the artists I work with that they need to put their name in the file name of the files they send me and it’s no longer an issue. But if you’re pitching your music to someone new you want to make it as easy as possible for them to easily access as much information about your tracks as possible, so be sure to properly embed as much information as you can about your tracks into your track’s properties.
Today's Assignment:
Today's assignment is to make sure all your tracks and files have the relevant metadata embedded into your tracks. See above for details on how to do this.
Today's Video Tutorial:
Today's video is a video version of today's lesson and goes into a bit more detail on this topic.
Today's Lead:
Open Format Music Group
About: OPEN FORMAT MUSIC GROUP - Sync Licensing Agency, Music Licensing, Song Licensing
Submit: OPEN FORMAT MUSIC GROUP - Sync Licensing Agency, Music Licensing, Song Licensing
Contact: OPEN FORMAT MUSIC GROUP - Sync Licensing Agency, Music Licensing, Song Licensing
Day 33
Today's Lead:
Finetune Music
About: https://www.finetunemusic.com/
Submit: https://www.finetunemusic.com/submit-your-music
Contact: https://www.finetunemusic.com/contactus
Today's Lead:
Finetune Music
About: https://www.finetunemusic.com/
Submit: https://www.finetunemusic.com/submit-your-music
Contact: https://www.finetunemusic.com/contactus
Day 34
Today's Lead:
Evolution Media
About: About — Evolution Media Music
Submit: Submit Music — Evolution Media Music
Contact: CONTACT — Evolution Media Music
Today's Lead:
Evolution Media
About: About — Evolution Media Music
Submit: Submit Music — Evolution Media Music
Contact: CONTACT — Evolution Media Music
Day 35
Today's Lead:
Makin Trax
About: Makin' Trax is a family run business, based in East London. Our music has been used all over the world, by the smallest and largest of production companies.
We have thousands of songs and instrumentals by real Indie bands, singer-songwriters, composers and music producers and can arrange for bespoke tracks in all styles to be produced very quickly and at prices to suit all budgets
Submit: Makin' Trax Production Music
Contact: Makin' Trax Production Music
Today's Lead:
Makin Trax
About: Makin' Trax is a family run business, based in East London. Our music has been used all over the world, by the smallest and largest of production companies.
We have thousands of songs and instrumentals by real Indie bands, singer-songwriters, composers and music producers and can arrange for bespoke tracks in all styles to be produced very quickly and at prices to suit all budgets
Submit: Makin' Trax Production Music
Contact: Makin' Trax Production Music
Day 36
Today's Lesson - Growing Your Catalog:
The more tracks you have in your catalog, the more potential licensing opportunities you'll have tracks that are a good fit for. Makes sense right? Part of a long term strategy for making money via music licensing is to work towards growing a large catalog. With a few exceptions, most writers I know and work with that make substantial money in music licensing have large catalogs, of hundreds or even thousands of tracks.
It takes time to get there, but part of the plan for becoming successful should involve regularly creating and recording new tracks that you can add to libraries that you work with and also pitch to new contacts.
You should ideally be making new music every week. I know some writers who create a track a day. Depending on the style of music you're making, this isn't as difficult as it sounds, especially as you become more proficient at recording and producing your tracks.
Regardless of the size of your catalog now, think about coming up with a recording schedule that you can stick to, in order to grow your catalog over time. Everyone is different, and how many tracks you're able to write and record will vary depending on your schedule and overall goals.
I typically aim to write and record at least one new track a week. My plate is pretty full with several different projects at any given time, so this is what I find works for me. It's prolific enough that over the years I've been able to build up to hundreds of songs. But it's not so stressful that I get burnt out.
Today's Assignment:
Today's assignment is to come up with a recording and writing schedule that you can commit to. If you want music licensing to be a job, that pays you like a job, then you need to treat it like a job. You need to commit to this in the same way you would commit to any full time endeavor.
Music licensing is a marathon, not a sprint. It takes time to get things rolling, but a crucial part of your overall success will be dependent on the quality and the size of your catalog of music. As you work towards building relationships, also work towards creating a great catalog of music that you can pitch to a variety of opportunities. Stick to what you can do best. But within the context of the kind of music you make, work towards making a lot of it, so when different opportunities are presented to you you'll be able to pitch music that is relevant.
Think about how much time you can realistically devote to this right now and come up with a plan for executing. Can you record one song a week? Two? Three? Can you only do one song every two weeks? Determine what you actually have the time and motivation to do and start following through!
Today's Video Tutorial:
Today's video is about exclusive vs non-exclusive contracts.
Today's Lesson - Growing Your Catalog:
The more tracks you have in your catalog, the more potential licensing opportunities you'll have tracks that are a good fit for. Makes sense right? Part of a long term strategy for making money via music licensing is to work towards growing a large catalog. With a few exceptions, most writers I know and work with that make substantial money in music licensing have large catalogs, of hundreds or even thousands of tracks.
It takes time to get there, but part of the plan for becoming successful should involve regularly creating and recording new tracks that you can add to libraries that you work with and also pitch to new contacts.
You should ideally be making new music every week. I know some writers who create a track a day. Depending on the style of music you're making, this isn't as difficult as it sounds, especially as you become more proficient at recording and producing your tracks.
Regardless of the size of your catalog now, think about coming up with a recording schedule that you can stick to, in order to grow your catalog over time. Everyone is different, and how many tracks you're able to write and record will vary depending on your schedule and overall goals.
I typically aim to write and record at least one new track a week. My plate is pretty full with several different projects at any given time, so this is what I find works for me. It's prolific enough that over the years I've been able to build up to hundreds of songs. But it's not so stressful that I get burnt out.
Today's Assignment:
Today's assignment is to come up with a recording and writing schedule that you can commit to. If you want music licensing to be a job, that pays you like a job, then you need to treat it like a job. You need to commit to this in the same way you would commit to any full time endeavor.
Music licensing is a marathon, not a sprint. It takes time to get things rolling, but a crucial part of your overall success will be dependent on the quality and the size of your catalog of music. As you work towards building relationships, also work towards creating a great catalog of music that you can pitch to a variety of opportunities. Stick to what you can do best. But within the context of the kind of music you make, work towards making a lot of it, so when different opportunities are presented to you you'll be able to pitch music that is relevant.
Think about how much time you can realistically devote to this right now and come up with a plan for executing. Can you record one song a week? Two? Three? Can you only do one song every two weeks? Determine what you actually have the time and motivation to do and start following through!
Today's Video Tutorial:
Today's video is about exclusive vs non-exclusive contracts.
Today's Lead:
Audiosparx
About:
Music for TV & Film
Hollywood has discovered AudioSparx and we are more than ready. At our Music for TV & Film page, you will find music especially created for film scores, trailers, interludes, cues, animation and more. For your next dramatization or series about crime, chaos, suspense, urban warfare, battle themes, fantasy, comedy, catwalk, hot romance or horror, we've got you covered!
Submit Music: https://www.audiosparx.com/sa/alliance/
Contact: http://www.audiosparx.com/sa/support/request.cfm
Day 37
Today's Lead:
Position Music
About: About-Position Music
Submit Music: [email protected]
Contact: Contact-Position Music
Today's Lead:
Position Music
About: About-Position Music
Submit Music: [email protected]
Contact: Contact-Position Music
Day 38
Today's Lead:
ATAK TV & Film Library
About: https://www.atakmusic.com/
Submit: Submit Music to Atak TV & Film Management
Contact: https://www.atakmusic.com/contact
Today's Lead:
ATAK TV & Film Library
About: https://www.atakmusic.com/
Submit: Submit Music to Atak TV & Film Management
Contact: https://www.atakmusic.com/contact
Day 39
Today's Lesson - Getting Paid:
There are two ways you get paid when licensing music. For many projects, there is an upfront sync fee for the rights to use your music. The amount of the sync fee varies greatly from project to project. It could be as low as several hundred dollars for a TV show to tens of thousands of dollars for a major ad campaign. The amount is based on many factors, including the budget of the show or production, the track being licensed and the company and/or person negotiating the sync fee on your behalf.
For uses in television, a performance royalty is generated based on how the song is used. In general, the longer the usage and the more prominent a placement is, the more you'll get paid in performance royalties. I've had placements on TV that have earned as little as 20 dollars in performance royalties on the low end, and I've other placements that have generated as much as $2,500 dollars. There is a wide range of potential, depending on the track and the placement.
Today's Assignment:
Today's assignment is to watch the video below that further breaks down how you get paid when licensing music. One of the keys to generating an income from licensing is having a firm grasp on how the business works and the different ways in which you get paid. The better you understand the ins and outs of the business, the better you'll be able to navigate your way through the music licensing maze and make well informed decisions.
Today's Video Tutorial:
Today's Lesson - Getting Paid:
There are two ways you get paid when licensing music. For many projects, there is an upfront sync fee for the rights to use your music. The amount of the sync fee varies greatly from project to project. It could be as low as several hundred dollars for a TV show to tens of thousands of dollars for a major ad campaign. The amount is based on many factors, including the budget of the show or production, the track being licensed and the company and/or person negotiating the sync fee on your behalf.
For uses in television, a performance royalty is generated based on how the song is used. In general, the longer the usage and the more prominent a placement is, the more you'll get paid in performance royalties. I've had placements on TV that have earned as little as 20 dollars in performance royalties on the low end, and I've other placements that have generated as much as $2,500 dollars. There is a wide range of potential, depending on the track and the placement.
Today's Assignment:
Today's assignment is to watch the video below that further breaks down how you get paid when licensing music. One of the keys to generating an income from licensing is having a firm grasp on how the business works and the different ways in which you get paid. The better you understand the ins and outs of the business, the better you'll be able to navigate your way through the music licensing maze and make well informed decisions.
Today's Video Tutorial:
Today's Lead:
First Note Play
About: First Note Play
Submit: First Note Play
Contact: First Note Play
Day 40
Today's Lead:
Color The Horizon
About: Color The Horizon Music Licensing
Submit: FAQ | (colorthehorizon.com)
Contact: Color The Horizon Music Licensing
Today's Lead:
Color The Horizon
About: Color The Horizon Music Licensing
Submit: FAQ | (colorthehorizon.com)
Contact: Color The Horizon Music Licensing
Day 41
Today's Lead:
Forman Bros.
About: Forman Bros. Recordings + Publishing is a source music placement solution that also represents many companies.
We provide timely and precise source music to Advertising agencies, Film & TV studios, Editors, Trailer companies, Music Supervisors and companies that work in the global entertainment business. You can rely on Forman Bros. insight, knowledge and flexible pricing. If what you require is the best hands-on treatment possible send us a brief today. Our turn-around time is wonderful.
Submit: Forman Bros. | Your Music Supervisors, Music Supervisor
Contact: http://formanbros.com/#home
Today's Lead:
Forman Bros.
About: Forman Bros. Recordings + Publishing is a source music placement solution that also represents many companies.
We provide timely and precise source music to Advertising agencies, Film & TV studios, Editors, Trailer companies, Music Supervisors and companies that work in the global entertainment business. You can rely on Forman Bros. insight, knowledge and flexible pricing. If what you require is the best hands-on treatment possible send us a brief today. Our turn-around time is wonderful.
Submit: Forman Bros. | Your Music Supervisors, Music Supervisor
Contact: http://formanbros.com/#home
Day 42 - 3/31
Today's Lesson - Using Reference Tracks:
One of the best ways to make sure you are creating tracks that work for licensing is to use reference tracks when writing and recording new tracks. A reference track is simply a track that has already been licensed somewhere. Some TV shows, for example, have a very distinct vibe and sound in terms of the tracks they tend to use. When writing for television, it's helpful to listen to reference tracks to make sure you are creating tracks that fit the vibe or mood of a particular show. Of course, if you're not writing for a specific show or project, which if often the case, this is a little harder to do. But, you can still use reference tracks to get inspiration for creating new tracks that you know will work in the context of tv in general.
Today's Assignment:
Today's assignment is to find a track that has been licensed elsewhere and write a similar track that is in the same vein. Don't just copy the track. But come up with something new and distinct that could stand on its own, but is close enough to the original track that you're confident it would work for licensing purposes.
You can listen to track in our music licensing reference library, or another great resource, is the website, Tunefind, that lists tracks that have been featured in various television shows.
Today's Video Tutorial:
Today's video tutorial dives further into the topic of using reference tracks to license more music.
Today's Lesson - Using Reference Tracks:
One of the best ways to make sure you are creating tracks that work for licensing is to use reference tracks when writing and recording new tracks. A reference track is simply a track that has already been licensed somewhere. Some TV shows, for example, have a very distinct vibe and sound in terms of the tracks they tend to use. When writing for television, it's helpful to listen to reference tracks to make sure you are creating tracks that fit the vibe or mood of a particular show. Of course, if you're not writing for a specific show or project, which if often the case, this is a little harder to do. But, you can still use reference tracks to get inspiration for creating new tracks that you know will work in the context of tv in general.
Today's Assignment:
Today's assignment is to find a track that has been licensed elsewhere and write a similar track that is in the same vein. Don't just copy the track. But come up with something new and distinct that could stand on its own, but is close enough to the original track that you're confident it would work for licensing purposes.
You can listen to track in our music licensing reference library, or another great resource, is the website, Tunefind, that lists tracks that have been featured in various television shows.
Today's Video Tutorial:
Today's video tutorial dives further into the topic of using reference tracks to license more music.
Steam Music
About: Steam Music - Sync Creative Publishing Label Service Agency
Submit: Music Submission Guidelines for Sync - Music Submission Guidelines | Steam Music
Contact: Contact | Steam Music
Day 44
Today's Lead:
Melod.ie
About: https://melod.ie/
Submit: Melodie | An Independent Music Library
Contact: https://melod.ie/contact
Today's Lead:
Melod.ie
About: https://melod.ie/
Submit: Melodie | An Independent Music Library
Contact: https://melod.ie/contact
Day 45
Today's Lead:
Playup Music
About: We license and create music for the biggest brands in the World.
Merging artists with brands is what we do best.
We never sleep. Our global team means someone is always listening.
We love to get involved!
Submit: Links to [email protected]
Contact: [email protected]
Today's Lead:
Playup Music
About: We license and create music for the biggest brands in the World.
Merging artists with brands is what we do best.
We never sleep. Our global team means someone is always listening.
We love to get involved!
Submit: Links to [email protected]
Contact: [email protected]
Day 46
Today's Lead:
Mophonics
About: https://www.mophonics.com/about
Submit: https://www.mophonics.com/contact
Contact: https://www.mophonics.com/contact
Today's Lead:
Mophonics
About: https://www.mophonics.com/about
Submit: https://www.mophonics.com/contact
Contact: https://www.mophonics.com/contact
Day 47
Today's Lesson - Registering Your Tracks And Cue Sheets:
In order to get paid performance royalties when your songs are used in television, you need to be sure that your tracks are registered with your PRO (ASCAP, BMI, SESAC, etc). When tv shows license and use music, they submit something called cue sheets, that list what songs and artists are used in each episode, to the corresponding PROs. PR0s. PROs then in turn distribute performance royalties for each placement, based on how the song was used. The longer and more prominent the placement, the larger the performance royalty.
Today's Assignment:
Today's assignment is to make sure you've registered the tracks you are pitching with your Performing Rights Organization. It's important that your tracks are registered, before you start pitching signing them to different companies. You have to have your tracks registered in order to get paid for your placements. Check with your PRO's website for details on the registration process. It's pretty straightforward and only takes several minutes per track.
Today's Video Tutorial:
Today's video tutorial breaks down how cue sheets and performance royalties work.
Today's Lesson - Registering Your Tracks And Cue Sheets:
In order to get paid performance royalties when your songs are used in television, you need to be sure that your tracks are registered with your PRO (ASCAP, BMI, SESAC, etc). When tv shows license and use music, they submit something called cue sheets, that list what songs and artists are used in each episode, to the corresponding PROs. PR0s. PROs then in turn distribute performance royalties for each placement, based on how the song was used. The longer and more prominent the placement, the larger the performance royalty.
Today's Assignment:
Today's assignment is to make sure you've registered the tracks you are pitching with your Performing Rights Organization. It's important that your tracks are registered, before you start pitching signing them to different companies. You have to have your tracks registered in order to get paid for your placements. Check with your PRO's website for details on the registration process. It's pretty straightforward and only takes several minutes per track.
Today's Video Tutorial:
Today's video tutorial breaks down how cue sheets and performance royalties work.
Today's Lead:
Mibe Music
About: http://mibemusic.com/about.html
Submit: http://mibemusic.com/submit-music.html
Contact: http://mibemusic.com/contact.html
Day 48
Today's Lead:
FlikTrax
About: FlikTrax.com is a music library that's main objective is to help you find the perfect musical accompaniment for your media quickly. Our exact search, filters, curated playlists and personal search assistant were designed to streamline your music selection process.
Submission guidelines: Submit your tracks via email, including streaming links and metadata here: FlikTrax Contributor Dashboard
Contact: FlikTrax Contributor Dashboard
Today's Lead:
FlikTrax
About: FlikTrax.com is a music library that's main objective is to help you find the perfect musical accompaniment for your media quickly. Our exact search, filters, curated playlists and personal search assistant were designed to streamline your music selection process.
Submission guidelines: Submit your tracks via email, including streaming links and metadata here: FlikTrax Contributor Dashboard
Contact: FlikTrax Contributor Dashboard
Day 49
Today's Lead:
Launchpad
About: LAUNCH PAD SPECIALISES IN HELPING INDEPENDENT ARTISTS GAIN GLOBAL EXPOSURE BY LICENSING THEIR MATERIAL TO COMMERCIALS, FILMS, TELEVISION SHOWS, VIDEO GAMES AND WEB PROMOS.
OUR CLOSE WORKING RELATIONSHIP WITH MANY OF THE WORLD'S LEADING MUSIC LICENSING AGENCIES AND MUSIC SUPERVISORS AS WELL AS OUR HISTORY OF PRODUCING MUSIC FOR ESTABLISHED GLOBAL BRANDS ENABLES US TO PLACE OUR TRACKS IN FRONT OF A VAST ARRAY OF CLIENTS FROM MULTIPLE INDUSTRIES AND ALLOWS US TO INVOLVE OUR ARTISTS IN EXCLUSIVE PROJECTS THAT WOULD NOT OTHERWISE BE AVAILABLE TO THEM.
Submit: http://www.launchpadmusicservices.com/
Contact: http://www.launchpadmusicservices.com/
Today's Lead:
Launchpad
About: LAUNCH PAD SPECIALISES IN HELPING INDEPENDENT ARTISTS GAIN GLOBAL EXPOSURE BY LICENSING THEIR MATERIAL TO COMMERCIALS, FILMS, TELEVISION SHOWS, VIDEO GAMES AND WEB PROMOS.
OUR CLOSE WORKING RELATIONSHIP WITH MANY OF THE WORLD'S LEADING MUSIC LICENSING AGENCIES AND MUSIC SUPERVISORS AS WELL AS OUR HISTORY OF PRODUCING MUSIC FOR ESTABLISHED GLOBAL BRANDS ENABLES US TO PLACE OUR TRACKS IN FRONT OF A VAST ARRAY OF CLIENTS FROM MULTIPLE INDUSTRIES AND ALLOWS US TO INVOLVE OUR ARTISTS IN EXCLUSIVE PROJECTS THAT WOULD NOT OTHERWISE BE AVAILABLE TO THEM.
Submit: http://www.launchpadmusicservices.com/
Contact: http://www.launchpadmusicservices.com/
Day 50
Today's Lesson - Tracking Your Submission And Following Up:
When I first started pursuing music licensing, I wrote a batch of new songs that I took to a studio in the suburbs of Chicago to record professionally. After I recorded the tracks, three to be exact, I sent them off to several publishers working in the licensing industry that I knew of. One of those publishers was a former songwriting teacher of mine at Berklee College of Music, Barbara Jordan. After sending her my tracks, I waited several weeks and I heard nothing. I sort of assumed she had received my tracks and just wasn't interested. I was sort of used to rejection at this point. It's par for course in the music business.
But one morning I woke up and on a whim decided to send Barbara a follow up email, just to make sure she received my package. This was back in the day, when mailing actual CDs was the norm. Within about five minutes of emailing her, she replied back, "Aaron, I'm so sorry. I've been meaning to email you. I got your CD and I LOVE your tracks. I know of one place in particular we can pitch one of your tracks right away."
Within about three weeks, my song, "All The Love", made its debut on national television, on an episode of The Young & The Restless. Who knows what would have happened had I not simply followed up. I probably would have heard from her eventually, but by following up, I was able to expedite the process and get the answer I had been waiting for.
Don't assume that if you don't hear back from someone, they're not interested in your music. They might not be. But they also might be interested, but have just been too busy to get back to you. Or maybe they haven't even had a chance to hear your music yet. You never really know until you get an answer. I always make it a habit to wait three or four weeks after sending my music somewhere, and just politely follow up to see if they received my submission, and if so, to find out what they think.
Today's Assignment:
Today's assignment is to watch today's video tutorial where I further discuss my method for following up on my submissions.
Today's Video Tutorial:
Today's Lesson - Tracking Your Submission And Following Up:
When I first started pursuing music licensing, I wrote a batch of new songs that I took to a studio in the suburbs of Chicago to record professionally. After I recorded the tracks, three to be exact, I sent them off to several publishers working in the licensing industry that I knew of. One of those publishers was a former songwriting teacher of mine at Berklee College of Music, Barbara Jordan. After sending her my tracks, I waited several weeks and I heard nothing. I sort of assumed she had received my tracks and just wasn't interested. I was sort of used to rejection at this point. It's par for course in the music business.
But one morning I woke up and on a whim decided to send Barbara a follow up email, just to make sure she received my package. This was back in the day, when mailing actual CDs was the norm. Within about five minutes of emailing her, she replied back, "Aaron, I'm so sorry. I've been meaning to email you. I got your CD and I LOVE your tracks. I know of one place in particular we can pitch one of your tracks right away."
Within about three weeks, my song, "All The Love", made its debut on national television, on an episode of The Young & The Restless. Who knows what would have happened had I not simply followed up. I probably would have heard from her eventually, but by following up, I was able to expedite the process and get the answer I had been waiting for.
Don't assume that if you don't hear back from someone, they're not interested in your music. They might not be. But they also might be interested, but have just been too busy to get back to you. Or maybe they haven't even had a chance to hear your music yet. You never really know until you get an answer. I always make it a habit to wait three or four weeks after sending my music somewhere, and just politely follow up to see if they received my submission, and if so, to find out what they think.
Today's Assignment:
Today's assignment is to watch today's video tutorial where I further discuss my method for following up on my submissions.
Today's Video Tutorial:
Today's Lead:
Epidemic Sound
About: We’ve transformed the soundtracking experience for global brands and professional creators, with an expansive catalog of world-class music and sound effects that’s seen and heard over 2.5 billion times a day around the globe.
Submit: For Artists - Why work with us | Epidemic Sound
Contact: For Artists - Why work with us | Epidemic Sound
Day 51
Today's Lead:
Songs For Film And TV
About: http://www.songsforfilmandtv.com/
Submit: https://songsforfilmandtv.com/hello
Contact: https://songsforfilmandtv.com/hello
Today's Lead:
Songs For Film And TV
About: http://www.songsforfilmandtv.com/
Submit: https://songsforfilmandtv.com/hello
Contact: https://songsforfilmandtv.com/hello
Day 52
Today's Lead:
Digimix
About: What We Do - DigiMix Music
Submit: Demo Submissions - DigiMix Music
Contact: Contact - DigiMix Music
Today's Lead:
Digimix
About: What We Do - DigiMix Music
Submit: Demo Submissions - DigiMix Music
Contact: Contact - DigiMix Music
Day 53
Today's Lesson - Develop A Long Term Game Plan You Can Stick To:
As I pointed out in a previous lesson, music licensing is a long term endeavor. It's easy to become overly focused on waiting and hoping for something to happen. This is totally understandable. Obviously if your goal is to license your music in tv and films, you're going to want to achieve goals related to licensing. I want you to achieve your goals as well. However, in my experience what actually is more effective than being overly focused on hoping and trying to get your tracks licensed, is to instead focus on the the thing you need to do on a daily, weekly and monthly basis that will get you closer to your goals and eventually allow you to achieve them.
The licensing business is pretty unpredictable, and it can get discouraging and frustrating if you're focusing too much energy on waiting for certain thing to happen. What will actually get you there much more quickly it too instead stay focused on simply doing the work you need to do. Focus on writing and recording a great catalog of music. Focus on building and cultivating connections with people in the industry. Focus on following up and submitting more music as you make it, and so on. Instead of being too concerned about any particular goal, focus on the habits that you need to cultivate in order to reach your goals.
Today's Assignment:
Today's assignment is to think about putting together an actual game plan that you can execute on a regular basis. Instead of approaching licensing on a short-term basis, come up with an actual strategy that you can stick to on an ongoing basis. Think of this as sort of like dieting vs adopting a healthy way of life. I don't want you to just take this program, submit to the companies in the leads section and then just sit back and hope something happens.
Instead, develop a strategy that you can actually stick to on a regular basis, for the next several years! I talked about coming up with a plan for growing your catalog and writing and recording new music. Let's extend that to the rest of the areas you need to focus on in order to get your music licensed. How many companies can you reach out to on a daily, weekly and monthly basis? How much time can you allot to networking and marketing your music? How many industry events can you attend each month? How much time can you spend following up with existing contacts?
In my experience the more you plan things out and stay organized, the more you'll actually get done. If you simply leave things to chance, or only work towards your goals when you're "feeling it", it's likely you'll move at a much slower place. Ultimately, your schedule and what you do on a daily, weekly and monthly basis are up to you, and will depend on your schedule, motivation, where you're at in your career and so on. But think about developing a plant that focuses on what I refer to as the "3 pillar of music licensing":
1) Your Songs
2) Your Production (Recording)
3) Your Marketing
Ideally, you should be devoting considerable time to each of the three pillars on a weekly basis. Set aside time to write, record and market your music. All three of these pillar are intricately linked to your success. If you're not moving forward, chances are your lacking in at least one of these areas. Come up with a plan for writing, recording and pitching and following up in your tracks each week!
Today's Video Tutorial:
In today's video tutorial I discuss the concept of focusing on habits as opposed to goals.
Today's Lesson - Develop A Long Term Game Plan You Can Stick To:
As I pointed out in a previous lesson, music licensing is a long term endeavor. It's easy to become overly focused on waiting and hoping for something to happen. This is totally understandable. Obviously if your goal is to license your music in tv and films, you're going to want to achieve goals related to licensing. I want you to achieve your goals as well. However, in my experience what actually is more effective than being overly focused on hoping and trying to get your tracks licensed, is to instead focus on the the thing you need to do on a daily, weekly and monthly basis that will get you closer to your goals and eventually allow you to achieve them.
The licensing business is pretty unpredictable, and it can get discouraging and frustrating if you're focusing too much energy on waiting for certain thing to happen. What will actually get you there much more quickly it too instead stay focused on simply doing the work you need to do. Focus on writing and recording a great catalog of music. Focus on building and cultivating connections with people in the industry. Focus on following up and submitting more music as you make it, and so on. Instead of being too concerned about any particular goal, focus on the habits that you need to cultivate in order to reach your goals.
Today's Assignment:
Today's assignment is to think about putting together an actual game plan that you can execute on a regular basis. Instead of approaching licensing on a short-term basis, come up with an actual strategy that you can stick to on an ongoing basis. Think of this as sort of like dieting vs adopting a healthy way of life. I don't want you to just take this program, submit to the companies in the leads section and then just sit back and hope something happens.
Instead, develop a strategy that you can actually stick to on a regular basis, for the next several years! I talked about coming up with a plan for growing your catalog and writing and recording new music. Let's extend that to the rest of the areas you need to focus on in order to get your music licensed. How many companies can you reach out to on a daily, weekly and monthly basis? How much time can you allot to networking and marketing your music? How many industry events can you attend each month? How much time can you spend following up with existing contacts?
In my experience the more you plan things out and stay organized, the more you'll actually get done. If you simply leave things to chance, or only work towards your goals when you're "feeling it", it's likely you'll move at a much slower place. Ultimately, your schedule and what you do on a daily, weekly and monthly basis are up to you, and will depend on your schedule, motivation, where you're at in your career and so on. But think about developing a plant that focuses on what I refer to as the "3 pillar of music licensing":
1) Your Songs
2) Your Production (Recording)
3) Your Marketing
Ideally, you should be devoting considerable time to each of the three pillars on a weekly basis. Set aside time to write, record and market your music. All three of these pillar are intricately linked to your success. If you're not moving forward, chances are your lacking in at least one of these areas. Come up with a plan for writing, recording and pitching and following up in your tracks each week!
Today's Video Tutorial:
In today's video tutorial I discuss the concept of focusing on habits as opposed to goals.
Today's Lead:
Low Profile
About: The Vibe | Low Profile NYC
Submit: The Vibe | Low Profile NYC (Submit Music At Bottom Of Page)
Contact: The Vibe | Low Profile NYC
Day 54
Today's Lead:
Triple Scoop
About: Royalty Free Music - Triple Scoop Music
Submit: How to submit music to TSM – Triple Scoop Music
Contact: Questions about music licensing? Contact Us - Triple Scoop Music
Today's Lead:
Triple Scoop
About: Royalty Free Music - Triple Scoop Music
Submit: How to submit music to TSM – Triple Scoop Music
Contact: Questions about music licensing? Contact Us - Triple Scoop Music
Day 55
Today's Lead:
Audiosocket
About: About Us | Audiosocket
Submit: Audiosocket - Artists Registration
Contact: [email protected]
Today's Lead:
Audiosocket
About: About Us | Audiosocket
Submit: Audiosocket - Artists Registration
Contact: [email protected]
Day 56
Today's Lead:
IndieTracks
About: Home | indieTracks
Submit: FAQ | indieTracks
Contact: Contact | indieTracks
Today's Lead:
IndieTracks
About: Home | indieTracks
Submit: FAQ | indieTracks
Contact: Contact | indieTracks
Day 57
Today's Lesson - Artist Music VS Production Music:
Broadly speaking, there are essentially two categories of music that get licensed in tv shows and films; "artist" music and "production" music. Most music that is licensed falls into one of these two categories. It's important that if you're pursuing licensing, you know which category you fall into. I consider "artist" music to be artists that simply write music they are inspired to write. Maybe they are also performing and touring, releasing music regularly and so on. Then, as a sort of after thought, they pursue licensing when opportunities arise as a way to supplement their income.
These types of artists aren't necessarily writing music with the specific goal of licensing it, they're simply making their music and license it when possible. On the other hand, there are composers and songwriters who deliberately set out to make music with the sole purpose of pursuing licensing opportunities. Most "production" music is approached in this manner. It's music that is crafted to work best within the context of licensing. There is a place for both kinds of music in the context of licensing, but which approach you take will alter your songwriting process and in many ways, your overall approach to your career.
If you have no interest in releasing "albums", touring, and building up a fan base for your original music, and your only interest is pursuing licensing opportunities, then it's going to be much easier to focus primarily on music licensing and creating music that works in this context. But if your goal is to be an original artist that tours, releases original albums and so on, it's probably going to be harder to find the time to focus on licensing, and only licensing, when writing and recording music. I don't think there is really a wrong approach, there are just two different approaches based on your overall career goals and interests. Which kind of artist are you? Do you aspire to tour and put out albums? Or do you see yourself more happy staying at home, locked in your studio, creating a wide variety of compositions and songs that work best in tv and films?
Today's Assignment:
Today's assignment is to watch the video tutorial below that dives deeper into the topic of "artist" music vs "Production" music.
Today's Video Tutorial:
Today's Lesson - Artist Music VS Production Music:
Broadly speaking, there are essentially two categories of music that get licensed in tv shows and films; "artist" music and "production" music. Most music that is licensed falls into one of these two categories. It's important that if you're pursuing licensing, you know which category you fall into. I consider "artist" music to be artists that simply write music they are inspired to write. Maybe they are also performing and touring, releasing music regularly and so on. Then, as a sort of after thought, they pursue licensing when opportunities arise as a way to supplement their income.
These types of artists aren't necessarily writing music with the specific goal of licensing it, they're simply making their music and license it when possible. On the other hand, there are composers and songwriters who deliberately set out to make music with the sole purpose of pursuing licensing opportunities. Most "production" music is approached in this manner. It's music that is crafted to work best within the context of licensing. There is a place for both kinds of music in the context of licensing, but which approach you take will alter your songwriting process and in many ways, your overall approach to your career.
If you have no interest in releasing "albums", touring, and building up a fan base for your original music, and your only interest is pursuing licensing opportunities, then it's going to be much easier to focus primarily on music licensing and creating music that works in this context. But if your goal is to be an original artist that tours, releases original albums and so on, it's probably going to be harder to find the time to focus on licensing, and only licensing, when writing and recording music. I don't think there is really a wrong approach, there are just two different approaches based on your overall career goals and interests. Which kind of artist are you? Do you aspire to tour and put out albums? Or do you see yourself more happy staying at home, locked in your studio, creating a wide variety of compositions and songs that work best in tv and films?
Today's Assignment:
Today's assignment is to watch the video tutorial below that dives deeper into the topic of "artist" music vs "Production" music.
Today's Video Tutorial:
Day 58
Today's Lead:
The Diner
About: The Diner Music
Submit: Contact Us – The Diner Music
Contact: Contact Us – The Diner Music
Today's Lead:
The Diner
About: The Diner Music
Submit: Contact Us – The Diner Music
Contact: Contact Us – The Diner Music
Day 59
Today's Lead:
Big Score Music
About: Home | Big Score Music
Submit: Submit Music | Big Score Music
Contact: Submit Music | Big Score Music
Today's Lead:
Big Score Music
About: Home | Big Score Music
Submit: Submit Music | Big Score Music
Contact: Submit Music | Big Score Music
Day 60
Today's Lesson - Become A Master Of Your Craft:
To succeed in licensing, at a significant level, you need to become a master at your craft. There are LOTS of musicians out there competing in the marketplace. There are far more musicians vying for licensing opportunities than there are licensing opportunities. Knowing this, you need to focus on becoming a master at your craft. Be objective about your own music, is it really as good as the majority of music that is being licensed right now? Can you honestly say your music is ready to be used in tv shows and films? Half of the battle, when it comes to licensing, is making sure the tracks you're pitching are actually ready to be pitched. No amount of networking, submitting music and so on will help if the music itself isn't great.
Today's Assignment:
Today's assignment is to check out the website, TuneFind.com. This website lists the songs used in a variety of tv shows and films. You can see which songs are used in each episode and you can even stream the songs directly from the website! Spend some time on this website and really get a good feel for the kinds of songs tv shows and films are using currently. Then, you can decide which songs of yours are the most relevant for licensing and also work on creating more music going forward, that works for licensing.
Visit https://www.tunefind.com/
Today's Video Tutorial:
Today's video tutorial is called "Be A Master Of Your Craft" from composer Eddie Grey. This video is a 50 minute video that goes into how to create sessions templates when composing tracks for TV. The tutorial is part of a much longer course called "How To Be A Full Time TV Composer". Creating session templates will allow you to work more efficiently and get tracks done more quickly.
Today's Lesson - Become A Master Of Your Craft:
To succeed in licensing, at a significant level, you need to become a master at your craft. There are LOTS of musicians out there competing in the marketplace. There are far more musicians vying for licensing opportunities than there are licensing opportunities. Knowing this, you need to focus on becoming a master at your craft. Be objective about your own music, is it really as good as the majority of music that is being licensed right now? Can you honestly say your music is ready to be used in tv shows and films? Half of the battle, when it comes to licensing, is making sure the tracks you're pitching are actually ready to be pitched. No amount of networking, submitting music and so on will help if the music itself isn't great.
Today's Assignment:
Today's assignment is to check out the website, TuneFind.com. This website lists the songs used in a variety of tv shows and films. You can see which songs are used in each episode and you can even stream the songs directly from the website! Spend some time on this website and really get a good feel for the kinds of songs tv shows and films are using currently. Then, you can decide which songs of yours are the most relevant for licensing and also work on creating more music going forward, that works for licensing.
Visit https://www.tunefind.com/
Today's Video Tutorial:
Today's video tutorial is called "Be A Master Of Your Craft" from composer Eddie Grey. This video is a 50 minute video that goes into how to create sessions templates when composing tracks for TV. The tutorial is part of a much longer course called "How To Be A Full Time TV Composer". Creating session templates will allow you to work more efficiently and get tracks done more quickly.
Today's Lead:
FlikTrax
About: FlikTrax.com is a music library that's main objective is to help you find the perfect musical accompaniment for your media quickly. Our exact search, filters, curated playlists and personal search assistant were designed to streamline your music selection process.
Submission guidelines: Submit your tracks via email, including streaming links and metadata here: FlikTrax Contributor Dashboard
Contact: FlikTrax Contributor Dashboard
Day 61
Today's Lead:
Placement Music
About:
Atlanta, Georgia-based Placement Music is a one-stop, music licensing and music production company with a roster of high-profile, award-winning composers, musicians, producers, and engineers who create and record all genres of series themes, feature scores, custom compositions, re-records and / or work-for-hire music for film, television, gaming & advertising projects. A diverse catalog of over 700 high-quality, 100% pre-cleared music tracks from 70+ established and emerging artists is available for immediate and affordable licensing.
Submit: http://placementmusic.com/have-music
Contact: http://placementmusic.com/contact
Today's Lead:
Placement Music
About:
Atlanta, Georgia-based Placement Music is a one-stop, music licensing and music production company with a roster of high-profile, award-winning composers, musicians, producers, and engineers who create and record all genres of series themes, feature scores, custom compositions, re-records and / or work-for-hire music for film, television, gaming & advertising projects. A diverse catalog of over 700 high-quality, 100% pre-cleared music tracks from 70+ established and emerging artists is available for immediate and affordable licensing.
Submit: http://placementmusic.com/have-music
Contact: http://placementmusic.com/contact
Day 62
Today's Lead:
PLB Sync
About: About Us — PLB Sync
Submit: Upload | Trish Bock - PLB Sync (disco.ac)
Contact: About Us — PLB Sync
Today's Lead:
PLB Sync
About: About Us — PLB Sync
Submit: Upload | Trish Bock - PLB Sync (disco.ac)
Contact: About Us — PLB Sync
Day 63
Today's Lesson - Put All Agreements In Writing:
There's an established protocol within the licensing industry for things like sync fees, performance royalties and so on. Most of the time, if you're working with established companies and you've done everything you need to do, like registering your tracks with your PRO and you've made sure to cross all your T's and dot all your I's, you'll get paid without a hitch. Albeit, it might take awhile, after-all, this is a pretty slow moving business in terms of getting compensated. But, there is an area within the context of licensing that is much more of a grey area.
What I'm referring to are working with different collaborators and setting up your own compensation agreements. For example, one area that I've collaborated a lot with different people in, is music production. I've worked with several different producers over the years, who have agreed to work for nothing or little upfront, in exchange for a percentage of any back-end money made in the future. Most of these partnerships have been fruitful and have worked without any problems or issues, in terms of splitting monies earned. Most of these agreements have simply been oral agreements, that were essentially hand shake deals.
But, I ran into an unusual situation recently that has changed my opinion on doing business this way. At this point, I put all business agreements into writing and I suggest you do the same. This way, you'll have a legally binding document to refer to, in the event that there are any disagreements or disputes. See the video below, where I discuss a recent situation that came up, where I didn't have anything in writing, and I had a dispute/misunderstanding with an old friend that ended badly.
Today's Assignment:
Check out today's video on why you should put all agreements in writing!
Today's Video Tutorial:
Today's Lesson - Put All Agreements In Writing:
There's an established protocol within the licensing industry for things like sync fees, performance royalties and so on. Most of the time, if you're working with established companies and you've done everything you need to do, like registering your tracks with your PRO and you've made sure to cross all your T's and dot all your I's, you'll get paid without a hitch. Albeit, it might take awhile, after-all, this is a pretty slow moving business in terms of getting compensated. But, there is an area within the context of licensing that is much more of a grey area.
What I'm referring to are working with different collaborators and setting up your own compensation agreements. For example, one area that I've collaborated a lot with different people in, is music production. I've worked with several different producers over the years, who have agreed to work for nothing or little upfront, in exchange for a percentage of any back-end money made in the future. Most of these partnerships have been fruitful and have worked without any problems or issues, in terms of splitting monies earned. Most of these agreements have simply been oral agreements, that were essentially hand shake deals.
But, I ran into an unusual situation recently that has changed my opinion on doing business this way. At this point, I put all business agreements into writing and I suggest you do the same. This way, you'll have a legally binding document to refer to, in the event that there are any disagreements or disputes. See the video below, where I discuss a recent situation that came up, where I didn't have anything in writing, and I had a dispute/misunderstanding with an old friend that ended badly.
Today's Assignment:
Check out today's video on why you should put all agreements in writing!
Today's Video Tutorial:
Today's Lead:
Songs To Your Eyes
About: Music Licensing For Videos & Film I Songs To Your Eyes
Submit: Music Licensing For Videos & Film I Songs To Your Eyes
Contact: Music Licensing For Videos & Film I Songs To Your Eyes
Day 64
Today's Lead:
Fundamental Music
About: Fundamental Music | Music Licensing
Submit: Fundamental Music | Music Licensing
Contact: Fundamental Music | Music Licensing
Today's Lead:
Fundamental Music
About: Fundamental Music | Music Licensing
Submit: Fundamental Music | Music Licensing
Contact: Fundamental Music | Music Licensing