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 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 member's portal.
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 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 member's portal.
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:
Manners McDade
About: Since 2001, Manners McDade Management & Agency has represented some of the finest composers working in film, television, games and advertising and we now work with a number of agencies in Europe, Asia, and the US to ensure our clients have representation in international markets.
Manners McDade Music Publishing Limited is a UK music publisher established in 2006. Our catalogue includes the work of top film and TV composers as well as a select roster of European composers, many of whom come from a classical background.
We offer a first class service from registration to international collection of royalties from our network of sub-publishers that covers all major territories and we specialise in the synchronisation and exploitation of our catalogue.
Our success is founded on providing our clients and customers with the highest standards of professionalism, honesty in all our relationships, and an unparalleled attention to detail.
Submit: https://www.mannersmcdade.co.uk/#contact
Contact: [email protected]
Day 2 - 4/15/25
Today's Lead:
DeWolfe Music
About: https://www.dewolfemusic.com/
Submit: https://www.dewolfemusic.com/page/compose
Contact: https://www.dewolfemusic.com/page/contact
Today's Lead:
DeWolfe Music
About: https://www.dewolfemusic.com/
Submit: https://www.dewolfemusic.com/page/compose
Contact: https://www.dewolfemusic.com/page/contact
Day 3 - 4/16/25
Today's Lead:
Audio Network
About: Simply put, we're here to help bring our clients' stories to life. From Hollywood to YouTube and Coca Cola to Vice, we've helped tell some of the world's most iconic stories.
We offer a huge amount of choice - from 1,000+ artists, composers and producers and 250,000+ wholly owned tracks. Whether our clients are searching for an orchestral score performed by London's best session musicians or Scandi-pop and hip hop, we span every genre imaginable in our constantly expanding collection.
Incredible music means the highest production values. Our music is composed and recorded by the best composers, artists and musicians and recorded at the world's most prestigious studios - including London's Abbey Road Studios and AIR Studios, School Farm Studios in Maplestead and Synchron Stage, Vienna.
Submit: OUR ROSTER - Audio Network People
Contact: OUR ROSTER - Audio Network People
Today's Lead:
Audio Network
About: Simply put, we're here to help bring our clients' stories to life. From Hollywood to YouTube and Coca Cola to Vice, we've helped tell some of the world's most iconic stories.
We offer a huge amount of choice - from 1,000+ artists, composers and producers and 250,000+ wholly owned tracks. Whether our clients are searching for an orchestral score performed by London's best session musicians or Scandi-pop and hip hop, we span every genre imaginable in our constantly expanding collection.
Incredible music means the highest production values. Our music is composed and recorded by the best composers, artists and musicians and recorded at the world's most prestigious studios - including London's Abbey Road Studios and AIR Studios, School Farm Studios in Maplestead and Synchron Stage, Vienna.
Submit: OUR ROSTER - Audio Network People
Contact: OUR ROSTER - Audio Network People
Day 4 - 4/17/25
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:
Warner-Chappell Production Music
About: https://www.warnerchappellpm.com/
Submit: https://www.warnerchappellpm.com/contact-us/#com
Contact: https://www.warnerchappellpm.com/contact-us/#com
Warner-Chappell Production Music
About: https://www.warnerchappellpm.com/
Submit: https://www.warnerchappellpm.com/contact-us/#com
Contact: https://www.warnerchappellpm.com/contact-us/#com
Day 5 - 4/18/25
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 - 4/19/25
Today's Lead:
Brash Tracks
About: Brash Tracks is a music licensing and sound design company representing a variety of artists and composers from around the world. Our primary focus is creating sync opportunities for our artists.
Submit: https://justbrash.com/contact-us/
Contact: https://justbrash.com/contact-us/
Today's Lead:
Brash Tracks
About: Brash Tracks is a music licensing and sound design company representing a variety of artists and composers from around the world. Our primary focus is creating sync opportunities for our artists.
Submit: https://justbrash.com/contact-us/
Contact: https://justbrash.com/contact-us/
Day 7 - 4/20/25
Today's Lead:
Musikvergnuegen
About: http://www.musikvergnuegen.com/
Submit: Contact Walter For Submission Details at [email protected]
Contact: https://www.musikvergnuegen.com/contact
Today's Lead:
Musikvergnuegen
About: http://www.musikvergnuegen.com/
Submit: Contact Walter For Submission Details at [email protected]
Contact: https://www.musikvergnuegen.com/contact
Day 8 - 4/21/25
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 yesterday's assignment. Yesterday 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 an excerpt from a video presentation I did with composer John Delvento about the importance of having a showreel and/or creating genre specific playlists.
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 yesterday's assignment. Yesterday 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 an excerpt from a video presentation I did with composer John Delvento about the importance of having a showreel and/or creating genre specific playlists.
Today's Lead:
Sodabox Music
About: https://sodaboxmusic.com/#contact
Submit: https://sodaboxmusic.com/submissions
Contact: https://sodaboxmusic.com/#contact
Day 9 - 4/22/25
Today's Lead:
Noted Audio
About: https://www.notedaudio.com/
Submit: [email protected]
Attn: Music Submission
Contact: [email protected]
Today's Lead:
Noted Audio
About: https://www.notedaudio.com/
Submit: [email protected]
Attn: Music Submission
Contact: [email protected]
Day 10 - 4/23/25
Today's Lead:
Elias Arts
About: https://www.eliasaudioid.com/ (about)
Submit: https://www.eliasaudioid.com/ (contact)
Contact: https://www.eliasaudioid.com/ (contact)
Today's Lead:
Elias Arts
About: https://www.eliasaudioid.com/ (about)
Submit: https://www.eliasaudioid.com/ (contact)
Contact: https://www.eliasaudioid.com/ (contact)
Day 11 - 4/24/25
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.
Today's Lead:
Catapult Music
About: http://www.catapultmusic.com/index.htm
Submit: http://www.catapultmusic.com/contact.html
Contact: http://www.catapultmusic.com/contact.html
Catapult Music
About: http://www.catapultmusic.com/index.htm
Submit: http://www.catapultmusic.com/contact.html
Contact: http://www.catapultmusic.com/contact.html
Day 12 - 4/25/25
Today's Lead:
Vanacore Music
About: About Vanacore — Vanacore Music - Custom Score and Music Library
Submit: Submission Form - Vanacore Music Composer Submissions
Contact: Contact — Vanacore Music - Custom Score and Music Library
Today's Lead:
Vanacore Music
About: About Vanacore — Vanacore Music - Custom Score and Music Library
Submit: Submission Form - Vanacore Music Composer Submissions
Contact: Contact — Vanacore Music - Custom Score and Music Library
Day 13 - 4/26/25
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 14 - 4/27/25
Today's Lead:
Mcasso
About: https://mcasso.com/
Submit: https://mcasso.com/contact
Contact: https://mcasso.com/contact
Today's Lead:
Mcasso
About: https://mcasso.com/
Submit: https://mcasso.com/contact
Contact: https://mcasso.com/contact
Day 15 - 4/28/25
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:
Position Music
About: Position Music is a boutique music library offering high-quality vocal and instrumental tracks across genres. They are known for working with independent artists and composers to provide music for film, TV, trailers, and advertising.
Learn more: About-Position Music
Submit: Please submit streaming links only to [email protected]
Contact: [email protected]
Day 16 - 4/29/25
Today's Lead:
Cavendish Music
About: Cavendish Music provides bespoke music for licensing in films, TV, documentaries, and commercials. They focus on curating exclusive vocal and instrumental tracks, with an emphasis on cinematic scores, indie music, and custom compositions.
Submit: Contact Us - Cavendish Music
Contact: [email protected]
Today's Lead:
Cavendish Music
About: Cavendish Music provides bespoke music for licensing in films, TV, documentaries, and commercials. They focus on curating exclusive vocal and instrumental tracks, with an emphasis on cinematic scores, indie music, and custom compositions.
Submit: Contact Us - Cavendish Music
Contact: [email protected]
Day 17 - 4/30/25
Today's Lead:
West One Music Group
About: West One Music Group specializes in production music for film, trailers, television, advertising, podcasts, and more, offering a diverse collection of albums covering global trends and multiple genres.
Submit: Join our composer community | Submit your music to our A&R team
Contact: Contact - West One Music Group
Today's Lead:
West One Music Group
About: West One Music Group specializes in production music for film, trailers, television, advertising, podcasts, and more, offering a diverse collection of albums covering global trends and multiple genres.
Submit: Join our composer community | Submit your music to our A&R team
Contact: Contact - West One Music Group
Day 18 - 5/1/25
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:
Atrium Music
About: Atrium Music offers a massive library of music across all genres, available for licensing in TV shows, films, and commercials, including both instrumental and vocal tracks.
Submit: Submit Music - Atrium MusicAtrium Music
Contact: [email protected]
Day 19 - 5/2/25
Today's Lead:
ScoreKeepers Music
About: ScoreKeepers Music specializes in providing music, including both instrumental and vocal tracks, to media professionals for use in advertising, TV, video, radio, film, multimedia, and corporate projects.
Submit: Send streaming links to composers.scorekeepersmusic.com
Contact: composers.scorekeepersmusic.com
Today's Lead:
ScoreKeepers Music
About: ScoreKeepers Music specializes in providing music, including both instrumental and vocal tracks, to media professionals for use in advertising, TV, video, radio, film, multimedia, and corporate projects.
Submit: Send streaming links to composers.scorekeepersmusic.com
Contact: composers.scorekeepersmusic.com
Day 20 - 5/3/25
Today's Lead:
Heavy Hitters Music
About: Heavy Hitters Music stands as a pioneering force in the sync licensing industry, boasting a rich legacy of over two decades. With a diverse catalog that spans a multitude of genres, Heavy Hitters Music serves to diligently enhance every project with music from our diverse roster of artists, songwriters, and producers — fulfilling every scene and fitting all budgets.
Submit: https://www.heavyhittersmusic.com/hhm-inquiries-1
Contact: https://www.heavyhittersmusic.com/hhm-inquiries-1
Today's Lead:
Heavy Hitters Music
About: Heavy Hitters Music stands as a pioneering force in the sync licensing industry, boasting a rich legacy of over two decades. With a diverse catalog that spans a multitude of genres, Heavy Hitters Music serves to diligently enhance every project with music from our diverse roster of artists, songwriters, and producers — fulfilling every scene and fitting all budgets.
Submit: https://www.heavyhittersmusic.com/hhm-inquiries-1
Contact: https://www.heavyhittersmusic.com/hhm-inquiries-1
Day 21 - 5/4/25
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 22 - 5/5/25
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:
Save The Sound
About: http://www.savethesound.agency/sounddesign/
Submit: [email protected]
Contact: [email protected]
Day 23 - 5/6/25
Today's Lead:
Liquid Cinema
About: http://www.liquidcinema.com/about.html
Submit: http://www.liquidcinema.com/contact.html
Contact: http://www.liquidcinema.com/contact.html
Today's Lead:
Liquid Cinema
About: http://www.liquidcinema.com/about.html
Submit: http://www.liquidcinema.com/contact.html
Contact: http://www.liquidcinema.com/contact.html
Day 24 - 5/7/25
Today's Lead:
Lemoncake
About: Created as a forward thinking, non-traditional independent broadcast music publisher Lemoncake is the brainchild of Peter Oldroyd and Gary Scargill. Peter & Gary were founders and creative driving force behind Ded Good Music, one of the best known and most loved independent music libraries of the 90’s and 00’s.
The mission for Lemoncake is to put the love back into music publishing, to find a new way of promoting music that works for composers and artists as well as the publisher. In short, we want to create a place where the composer matters.
Submit: Lemoncake
Contact: https://www.lemoncake.com/contact
Today's Lead:
Lemoncake
About: Created as a forward thinking, non-traditional independent broadcast music publisher Lemoncake is the brainchild of Peter Oldroyd and Gary Scargill. Peter & Gary were founders and creative driving force behind Ded Good Music, one of the best known and most loved independent music libraries of the 90’s and 00’s.
The mission for Lemoncake is to put the love back into music publishing, to find a new way of promoting music that works for composers and artists as well as the publisher. In short, we want to create a place where the composer matters.
Submit: Lemoncake
Contact: https://www.lemoncake.com/contact
Day 25 - 5/8/25
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:
ATAK TV & Film Library
About: https://www.atakmusic.com/
Submit: Submit Music to Atak TV & Film Management
Contact: https://www.atakmusic.com/contact
Day 26 - 5/9/25
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 27 - 5/10/25
Today's Lead:
Theta Sound
About: Theta Sound is a music library specializing in music for motion picture and advertising campaigns. Theta Sound's music is featured in numerous major advertising campaigns.
Submit: https://theta-sound.com/contact/
Contact: https://theta-sound.com/contact/
Today's Lead:
Theta Sound
About: Theta Sound is a music library specializing in music for motion picture and advertising campaigns. Theta Sound's music is featured in numerous major advertising campaigns.
Submit: https://theta-sound.com/contact/
Contact: https://theta-sound.com/contact/
Day 28 - 5/11/25
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 29 - 5/12/25
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:
4 Elements Music
About: https://4elementsmusic.com/what-we-do
Submit: https://4elementsmusic.com/contact
Contact: https://4elementsmusic.com/contact
4 Elements Music
About: https://4elementsmusic.com/what-we-do
Submit: https://4elementsmusic.com/contact
Contact: https://4elementsmusic.com/contact
Day 30 - 5/13/25
Today's Lead:
Bleach Music
About: Welcome to Bleach Music! We’re an experienced music agency delivering quality bespoke and library music for commercial and creative purposes. As a team of seasoned composers and sound engineers, we feel passionate about the potential for sound to bring your stories to life.
Submit: Contact | Bleach Productions
Contact: Contact | Bleach Productions
Today's Lead:
Bleach Music
About: Welcome to Bleach Music! We’re an experienced music agency delivering quality bespoke and library music for commercial and creative purposes. As a team of seasoned composers and sound engineers, we feel passionate about the potential for sound to bring your stories to life.
Submit: Contact | Bleach Productions
Contact: Contact | Bleach Productions
Day 31 - 5/14/25
Today's Lead:
The Diner
About: There’s nothing stock about The Diner. The Diner is a premium, customizable production music library based out of NYC.
With instrumental and vocal tracks in a wide array of genres and styles, The Diner provides easy access to top-shelf production music alongside its world-class customer service.
The Diner’s music is customizable and can be tailored to any project, with a talented team of in-house composers and access to stems for the vast majority of our library. Along with the ability to tailor our music to any project, The Diner is constantly composing and adding new music, keeping our library fresh and your creative options limitless. Simply put, we make music that drives actions and emotions.
Submit: Contact Us – The Diner Music
Contact: Contact Us – The Diner Music
Today's Lead:
The Diner
About: There’s nothing stock about The Diner. The Diner is a premium, customizable production music library based out of NYC.
With instrumental and vocal tracks in a wide array of genres and styles, The Diner provides easy access to top-shelf production music alongside its world-class customer service.
The Diner’s music is customizable and can be tailored to any project, with a talented team of in-house composers and access to stems for the vast majority of our library. Along with the ability to tailor our music to any project, The Diner is constantly composing and adding new music, keeping our library fresh and your creative options limitless. Simply put, we make music that drives actions and emotions.
Submit: Contact Us – The Diner Music
Contact: Contact Us – The Diner Music
Day 32 - 5/15/25
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:
Mibe Music
About: http://mibemusic.com/about.html
Submit: http://mibemusic.com/submit-music.html
Contact: http://mibemusic.com/contact.html
Day 33 - 5/16/25
Today's Lead:
Atomica Music Library
About: https://www.atomicamusiclibrary.com/#!custom_page?pageId=1317
Submit: https://www.atomicamusiclibrary.com/#!custom_page?pageId=2713
Contact: https://www.atomicamusiclibrary.com/#!custom_page?pageId=1317
Today's Lead:
Atomica Music Library
About: https://www.atomicamusiclibrary.com/#!custom_page?pageId=1317
Submit: https://www.atomicamusiclibrary.com/#!custom_page?pageId=2713
Contact: https://www.atomicamusiclibrary.com/#!custom_page?pageId=1317
Day 34 - 5/17/25
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:
Evolution Media
About: http://www.evolutionmediamusic.com/about-1
Submit: Submit Music — Evolution Media Music
Contact: http://www.evolutionmediamusic.com/contact-1
Day 35 - 5/18/25
Today's Lead:
Music Mind
About: Long-time friends and Berklee Alumni, Elik Álvarez and Juan Andrés Cammarano co-founded MusicMind Co. in 2010. Applying years of experience between the two and working closely with various production companies, editors, and executive producers (including Telemundo, BRAVO, HBO Max, Netflix, WarnerMedia 150, NFL 360, to name a few) MusicMind Co. is not only referred to as a boutique music library but as a House of Composers bringing a collaborative, creative and unique experience to every project. With an irrefutable work history and a constantly growing team of talented individuals, MusicMind Co. continuously delivers at the highest standard.
More: About Us – MusicMind Co.
Submission Guidelines: Submit your music here: New Music Submission (zohopublic.com)
Contact: Contact – MusicMind Co.
Today's Lead:
Music Mind
About: Long-time friends and Berklee Alumni, Elik Álvarez and Juan Andrés Cammarano co-founded MusicMind Co. in 2010. Applying years of experience between the two and working closely with various production companies, editors, and executive producers (including Telemundo, BRAVO, HBO Max, Netflix, WarnerMedia 150, NFL 360, to name a few) MusicMind Co. is not only referred to as a boutique music library but as a House of Composers bringing a collaborative, creative and unique experience to every project. With an irrefutable work history and a constantly growing team of talented individuals, MusicMind Co. continuously delivers at the highest standard.
More: About Us – MusicMind Co.
Submission Guidelines: Submit your music here: New Music Submission (zohopublic.com)
Contact: Contact – MusicMind Co.
Day 36 - 5/19/25
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.
Today's Lead:
Amadea Music Productions
About: https://www.amadeamusicproductions.com/#biography
Submit: https://www.amadeamusicproductions.com/#biography
Contact: https://www.amadeamusicproductions.com/#biography
Day 37 - 5/20/25
Today's Lead:
The Library of The Human Soul
About: The Library Of The Human Soul - Beautiful music for every emotion
Submit: The Library Of The Human Soul - Beautiful music for every emotion
Contact: The Library Of The Human Soul - Beautiful music for every emotion
Today's Lead:
The Library of The Human Soul
About: The Library Of The Human Soul - Beautiful music for every emotion
Submit: The Library Of The Human Soul - Beautiful music for every emotion
Contact: The Library Of The Human Soul - Beautiful music for every emotion
Day 39 - 5/22/25
Today's Lead:
North Note
About: INFO — North Note
Submit: INFO — North Note (Contact Us)
Contact: INFO — North Note (Contact Us)
Today's Lead:
North Note
About: INFO — North Note
Submit: INFO — North Note (Contact Us)
Contact: INFO — North Note (Contact Us)
Day 40 - 5/23/25
Finger Music Sound & Design
About: http://fingermusic.tv
Submit: Contact | Finger Music & Sound Design - London, New York, LA
Contact: Contact | Finger Music & Sound Design - London, New York, LA
Finger Music Sound & Design
About: http://fingermusic.tv
Submit: Contact | Finger Music & Sound Design - London, New York, LA
Contact: Contact | Finger Music & Sound Design - London, New York, LA
Day 41 - 5/24/25
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
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 42 - 5/25/25
Today's Lead:
Premium Beat
About: About Us - PremiumBeat
Submit: Submit Your Music - PremiumBeat
Contact: Submit Your Music - PremiumBeat
Today's Lead:
Premium Beat
About: About Us - PremiumBeat
Submit: Submit Your Music - PremiumBeat
Contact: Submit Your Music - PremiumBeat
Day 43 - 5/26/25
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:
Alibi Music
About: Learn about ALIBI Music and what makes us your go-to destination for music licensing needs.
Submit: How do I submit music to become a composer / artist for alibi (alibimusiclibrary.com)
Contact: Contact Us | ALIBI Music
Day 44 - 5/27/25
Today's Lead:
Hum
About: http://www.hum.co.uk/about/#/About_Hum___RTE_News
Submit: http://www.hum.co.uk/contact/
Contact: http://www.hum.co.uk/contact/
Today's Lead:
Hum
About: http://www.hum.co.uk/about/#/About_Hum___RTE_News
Submit: http://www.hum.co.uk/contact/
Contact: http://www.hum.co.uk/contact/
Day 45 - 5/28/25
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 46 - 5/29/25
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:
First Note Play
About: First Note Play
Submit: First Note Play
Contact: First Note Play
Day 47 - 5/30/25
Today's Lead:
Figure & Groove
About: Led by Emmy award winning composing duo The de Luca Brothers, original scoring is at the heart of what we do. Whether it’s a key scene calling out for a moment to shine, thematic elements being woven throughout, or just the right amount of minimal underscore, we understand that creating emotional connection to the visual through music is an essential component to the stories being told.
Submit: Composer Submissions
Contact: Contact Us
Today's Lead:
Figure & Groove
About: Led by Emmy award winning composing duo The de Luca Brothers, original scoring is at the heart of what we do. Whether it’s a key scene calling out for a moment to shine, thematic elements being woven throughout, or just the right amount of minimal underscore, we understand that creating emotional connection to the visual through music is an essential component to the stories being told.
Submit: Composer Submissions
Contact: Contact Us
Day 48 - 5/31/25
Today's Lead:
Music Orange
About: We are producers, composers, musicians, and engineers who make custom original music for content of all stripes. We’re good listeners who love to solve problems and elevate the story-telling process through great music and sound. Think of us as your music creation and production department. Or your secret weapon. Or your power animal.
Submit: Composer Submissions
Contact: Contact Us
Today's Lead:
Music Orange
About: We are producers, composers, musicians, and engineers who make custom original music for content of all stripes. We’re good listeners who love to solve problems and elevate the story-telling process through great music and sound. Think of us as your music creation and production department. Or your secret weapon. Or your power animal.
Submit: Composer Submissions
Contact: Contact Us
Day 49 - 6/1/25
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 your 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 your 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:
Bopper Music
About: https://www.boppermusic.com/
Submit: https://www.boppermusic.com/contact
Contact: https://www.boppermusic.com/contact
Day 50 - 6/2/25
Today's Lead:
411 Music Group
About: Homepage - 411 Music Group
Submit: Submit your music here: Contact - 411 Music Group
Today's Lead:
411 Music Group
About: Homepage - 411 Music Group
Submit: Submit your music here: Contact - 411 Music Group
Day 51 - 6/3/25
Today's Lead:
Soho Production Music
About: We are a vibrant, independent, creative and friendly boutique production music library based in the busy, colourful streets of Soho, London. We pride ourselves on providing a stunning range of high-quality music designed for use in media. Across our catalogue of over 60,000 tracks, you're sure to discover the perfect soundtrack to your production, whether that's a classical string quartet, groovy guitar funk, contemporary EDM dance, authentic 1940s jazz recording or more.
Submit: Soho Production Music | Soho Player
Contact: Soho Production Music | Soho Player
Today's Lead:
Soho Production Music
About: We are a vibrant, independent, creative and friendly boutique production music library based in the busy, colourful streets of Soho, London. We pride ourselves on providing a stunning range of high-quality music designed for use in media. Across our catalogue of over 60,000 tracks, you're sure to discover the perfect soundtrack to your production, whether that's a classical string quartet, groovy guitar funk, contemporary EDM dance, authentic 1940s jazz recording or more.
Submit: Soho Production Music | Soho Player
Contact: Soho Production Music | Soho Player
Day 52 - 6/4/25
Today's Lead:
Sencit
About: Since 2008, Sencit has been your premier source for music and sound design tailored for theatrical advertising. Our catalog features high-caliber tracks specifically produced and curated for film and game trailers, empowering video editors to maximize impact with their spots.
We are passionate about not only providing exceptional music and sound effects, but also helping artists earn additional income through licensing. Our sound design catalog has become an industry staple, while our artist selection—assembled by trailer music supervisors—is organized intuitively to help you quickly find the perfect piece for your projects
Submit: We are always looking for new sound designers, composers, artists and catalogs to join us! Please send an email with streaming links and important information about you and your music to [email protected]. We cannot open emails with attachments.
Contact: Contact
Today's Lead:
Sencit
About: Since 2008, Sencit has been your premier source for music and sound design tailored for theatrical advertising. Our catalog features high-caliber tracks specifically produced and curated for film and game trailers, empowering video editors to maximize impact with their spots.
We are passionate about not only providing exceptional music and sound effects, but also helping artists earn additional income through licensing. Our sound design catalog has become an industry staple, while our artist selection—assembled by trailer music supervisors—is organized intuitively to help you quickly find the perfect piece for your projects
Submit: We are always looking for new sound designers, composers, artists and catalogs to join us! Please send an email with streaming links and important information about you and your music to [email protected]. We cannot open emails with attachments.
Contact: Contact
Day 53 - 6/5/25
Today's Lead:
Gothic Storm
About: Founded by Dan Graham in 2010 as a premium boutique label, Gothic Storm creates library and custom music for blockbuster Hollywood trailers. Regular clients include NASA, Disney (including Marvel & Lucasfilm), Paramount Pictures, Universal Pictures, Warner Bros, Sony Pictures, Netflix, AppleTV+, Amazon Prime and HBO Max.
We use live strings and choirs and totally original custom-made sound design.
Submit: Gothic Storm - Epic emotional music
Contact: Gothic Storm - Epic emotional music
Today's Lead:
Gothic Storm
About: Founded by Dan Graham in 2010 as a premium boutique label, Gothic Storm creates library and custom music for blockbuster Hollywood trailers. Regular clients include NASA, Disney (including Marvel & Lucasfilm), Paramount Pictures, Universal Pictures, Warner Bros, Sony Pictures, Netflix, AppleTV+, Amazon Prime and HBO Max.
We use live strings and choirs and totally original custom-made sound design.
Submit: Gothic Storm - Epic emotional music
Contact: Gothic Storm - Epic emotional music
Day 56 - 4/14
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 54 - 6/6/25
Today's Lead:
Sonata
About: License Music By Artists For Video, Film, Adverts & Games | Sonata
Submit: Become a Sonata artist | Music Licensing | Sonata
Contact: Become a Sonata artist | Music Licensing | Sonata
Today's Lead:
Sonata
About: License Music By Artists For Video, Film, Adverts & Games | Sonata
Submit: Become a Sonata artist | Music Licensing | Sonata
Contact: Become a Sonata artist | Music Licensing | Sonata
Day 56 - 6/7/25
Today's Lead:
Score A Score
About: Work | Score a Score
Submit: Join Our Roster | Score a Score
Contact: [email protected]
Today's Lead:
Score A Score
About: Work | Score a Score
Submit: Join Our Roster | Score a Score
Contact: [email protected]
Day 57 - 6/8/25
Today's Lead:
Gas Music
About: Gas Music, production and sound design
Submit: Gas Music, production and sound design
Contact: Gas Music, production and sound design
Today's Lead:
Gas Music
About: Gas Music, production and sound design
Submit: Gas Music, production and sound design
Contact: Gas Music, production and sound design
Day 58 - 6/9/25
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:
Two AM Music
About: Music Composition | Sonic Branding | Sound Design | Sound Recording
Submit: Contact | Two AM Music - Cape Town, London, Kuala Lumpur, & NZ
Contact: Contact | Two AM Music - Cape Town, London, Kuala Lumpur, & NZ
Two AM Music
About: Music Composition | Sonic Branding | Sound Design | Sound Recording
Submit: Contact | Two AM Music - Cape Town, London, Kuala Lumpur, & NZ
Contact: Contact | Two AM Music - Cape Town, London, Kuala Lumpur, & NZ
Day 59 - 6/10/25
Today's Lead:
Flavorlab
About: Flavorlab - Audio Post NY, Custom Scoring, & Music Licensing
Submit: Flavorlab - Audio Post NY, Custom Scoring, & Music Licensing
Contact: Flavorlab - Audio Post NY, Custom Scoring, & Music Licensing
Today's Lead:
Flavorlab
About: Flavorlab - Audio Post NY, Custom Scoring, & Music Licensing
Submit: Flavorlab - Audio Post NY, Custom Scoring, & Music Licensing
Contact: Flavorlab - Audio Post NY, Custom Scoring, & Music Licensing
Day 60 - 6/11/25
Today's Lead:
Phantom Power
About: Composers and Sound Designers: We are expanding and looking to add more incredibly talented people like yourselves to our roster. If you want to place music in the biggest trailers send sample work to [email protected]!!!
Submit: Composers and Sound Designers: We are expanding and looking to add more incredibly talented people like yourselves to our roster. If you want to place music in the biggest trailers send sample work to [email protected]!!!
Contact: [email protected]
Today's Lead:
Phantom Power
About: Composers and Sound Designers: We are expanding and looking to add more incredibly talented people like yourselves to our roster. If you want to place music in the biggest trailers send sample work to [email protected]!!!
Submit: Composers and Sound Designers: We are expanding and looking to add more incredibly talented people like yourselves to our roster. If you want to place music in the biggest trailers send sample work to [email protected]!!!
Contact: [email protected]
Day 61 - 6/12/25
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:
Comma
About: Comma | Production Music Label
Submit: Comma | Music Submissions
Contact: Comma | Production Music Label
Day 62 - 6/13/25
Today's Lead:
Motive Major
About: Music is our passion and our inspiration comes from your vision. We prioritize it all the way through the process to ensure the best possible results.Despite having a Nordic European base, we work with some of the most talented and accomplished international composers and musicians in their respective fields to create breathtaking music and memorable sound design.
We strive to deliver quality in every aspect. We believe music comes first so we never compromise. And regardless of your deadline, we will put in the extra legwork to deliver the quality you’re after because it’s our view that every project deserves outstanding music.
With more than 8 years of experience and consistently high-quality end products, we know how to deliver expressive music that moves. Contact us to get started on your project.
Submit: FAQ Provides A Quick Service Overview I Motive Major (See FAQ Re: Artist Submissions)
Contact: FAQ Provides A Quick Service Overview I Motive Major
Today's Lead:
Motive Major
About: Music is our passion and our inspiration comes from your vision. We prioritize it all the way through the process to ensure the best possible results.Despite having a Nordic European base, we work with some of the most talented and accomplished international composers and musicians in their respective fields to create breathtaking music and memorable sound design.
We strive to deliver quality in every aspect. We believe music comes first so we never compromise. And regardless of your deadline, we will put in the extra legwork to deliver the quality you’re after because it’s our view that every project deserves outstanding music.
With more than 8 years of experience and consistently high-quality end products, we know how to deliver expressive music that moves. Contact us to get started on your project.
Submit: FAQ Provides A Quick Service Overview I Motive Major (See FAQ Re: Artist Submissions)
Contact: FAQ Provides A Quick Service Overview I Motive Major
Day 63 - 6/14/25
Today's Lead:
Siren
About: We are an award-winning music supervision & production company made up of talented Music Supervisors and Producers who love music and the craft of storytelling through sound.
We collaborate with a global network of composers, artists, musicians, labels, and publishers to provide the strongest musical solutions available.
Our services include; music supervision, bespoke composition, re-records, music research, sync negotiation & licensing.
SIREN is based in Central London and is part of the Factory Family.
Submit: Composer / Artist submissions: We are always on the look out for brilliant new people to work with so please drop us an email - [email protected]
Contact: SIREN | About Siren Bespoke Music Composition, Rerecord, Licensing and Music Supervision Company London
Today's Lead:
Siren
About: We are an award-winning music supervision & production company made up of talented Music Supervisors and Producers who love music and the craft of storytelling through sound.
We collaborate with a global network of composers, artists, musicians, labels, and publishers to provide the strongest musical solutions available.
Our services include; music supervision, bespoke composition, re-records, music research, sync negotiation & licensing.
SIREN is based in Central London and is part of the Factory Family.
Submit: Composer / Artist submissions: We are always on the look out for brilliant new people to work with so please drop us an email - [email protected]
Contact: SIREN | About Siren Bespoke Music Composition, Rerecord, Licensing and Music Supervision Company London
Day 64 - 6/15/25
Today's Lead:
Rareform Audio
About: Rareform Audio is a music and audio post-production company working across film, television, advertising, trailers, video games, apps, and more. Our trailer publishing imprint, Black Sheep Music, focuses specifically on cinematic music and sound design for high-impact trailers.
Submit: Artist/Composer Inquiries
Contact: [email protected]
Today's Lead:
Rareform Audio
About: Rareform Audio is a music and audio post-production company working across film, television, advertising, trailers, video games, apps, and more. Our trailer publishing imprint, Black Sheep Music, focuses specifically on cinematic music and sound design for high-impact trailers.
Submit: Artist/Composer Inquiries
Contact: [email protected]
Day 67 - 4/25
Today's Lesson - Buyout Deals:
Buyout deals are similar to exclusive deals, but are even more restrictive. Typically when you do an exclusive publishing deal you still retain the copyright. In other words, you still own the master and the song, but are simply giving someone the exclusive rights to represent your songs in the context of licensing. When you do a buyout deal, you are typically giving someone both the exclusive rights to pitch your music for licensing and also transferring your copyright, in other words, the actual ownership of the song. The difference, is that when you do a buyout deal you'll get some sort of money upfront for ownership of the track. You'll normally still get a writer's royalty anytime your tracks are placed, but you won't be able to do anything else with these tracks, other than wait and collect any royalties whenever the tracks are placed.
How much you get per track for a buyout deal will vary, depending on the company and the type of track. A typical fee would be somewhere around 100 to several hundred dollars for a production library track. Vocal tracks tend to generate a bit more. In my opinion, these types of deals make the most sense for composers who are creating a lot of tracks. It's a good way to bring in immediate cash-flow while you're waiting for your tracks to get placed and generate royalties. A couple hundred dollars per track isn't much, but if you did just ten tracks a month at 200 dollars each, you'd have 2k in cashflow for the month, and again, you'd also get performance royalties in most cases, if and when your tracks are placed.
Today's Assignment:
Today's assignment is to watch today's videos on buyout deals and "royalty free" libraries.
Today's Video Tutorial:
Today's Lesson - Buyout Deals:
Buyout deals are similar to exclusive deals, but are even more restrictive. Typically when you do an exclusive publishing deal you still retain the copyright. In other words, you still own the master and the song, but are simply giving someone the exclusive rights to represent your songs in the context of licensing. When you do a buyout deal, you are typically giving someone both the exclusive rights to pitch your music for licensing and also transferring your copyright, in other words, the actual ownership of the song. The difference, is that when you do a buyout deal you'll get some sort of money upfront for ownership of the track. You'll normally still get a writer's royalty anytime your tracks are placed, but you won't be able to do anything else with these tracks, other than wait and collect any royalties whenever the tracks are placed.
How much you get per track for a buyout deal will vary, depending on the company and the type of track. A typical fee would be somewhere around 100 to several hundred dollars for a production library track. Vocal tracks tend to generate a bit more. In my opinion, these types of deals make the most sense for composers who are creating a lot of tracks. It's a good way to bring in immediate cash-flow while you're waiting for your tracks to get placed and generate royalties. A couple hundred dollars per track isn't much, but if you did just ten tracks a month at 200 dollars each, you'd have 2k in cashflow for the month, and again, you'd also get performance royalties in most cases, if and when your tracks are placed.
Today's Assignment:
Today's assignment is to watch today's videos on buyout deals and "royalty free" libraries.
Today's Video Tutorial:
Day 65 - 6/16/25
Today's Lead:
Sonicular
About: About Us | Sonicular
Submit: Contact | Sonicular
Contact: Contact | Sonicular
Today's Lead:
Sonicular
About: About Us | Sonicular
Submit: Contact | Sonicular
Contact: Contact | Sonicular
Day 66 - 6/17/25
Today's Lead:
In Style
About: Services - InStyle Music
Submit: Music Submissions - InStyle Music
Contact: Contact - InStyle Music
Today's Lead:
In Style
About: Services - InStyle Music
Submit: Music Submissions - InStyle Music
Contact: Contact - InStyle Music
Day 67 - 6/18/25
Today's Lead:
Curation
About: About Curation
Submit: Contact Curation
Contact: Contact Curation
Today's Lead:
Curation
About: About Curation
Submit: Contact Curation
Contact: Contact Curation
Day 68 - 6/19/25
Today's Lead:
With Feeling
About: Sonic Branding Agency | Music Studio - WithFeeling.com
Submit: Contact Sonic Branding Agency Dubai - With Feeling | WithFeeling.com
Contact: Contact Sonic Branding Agency Dubai - With Feeling | WithFeeling.com
Today's Lead:
With Feeling
About: Sonic Branding Agency | Music Studio - WithFeeling.com
Submit: Contact Sonic Branding Agency Dubai - With Feeling | WithFeeling.com
Contact: Contact Sonic Branding Agency Dubai - With Feeling | WithFeeling.com
Day 69 - 6/20/25
Today's Lead:
Sphere Trax
About: SphereTrax offers a supportive and innovative community where musicians and composers can showcase their work, collaborate with top industry professionals, and access unparalleled opportunities for growth and success. We are dedicated to elevating the creative journey of every artist on our platform.
Submit: SphereTrax | Discover & License Music, The Creative Way
Contact: SphereTrax | Discover & License Music, The Creative Way
Today's Lead:
Sphere Trax
About: SphereTrax offers a supportive and innovative community where musicians and composers can showcase their work, collaborate with top industry professionals, and access unparalleled opportunities for growth and success. We are dedicated to elevating the creative journey of every artist on our platform.
Submit: SphereTrax | Discover & License Music, The Creative Way
Contact: SphereTrax | Discover & License Music, The Creative Way
Day 70 - 6/21/25
Today's Lead:
The Elements Music
About: About-new
Submit: [email protected]
Contact: [email protected]
Today's Lead:
The Elements Music
About: About-new
Submit: [email protected]
Contact: [email protected]
Day 71 - 6/22/25
Today's Lead:
Bleach Music
About: Welcome to Bleach Music! We’re an experienced music agency delivering quality bespoke and library music for commercial and creative purposes. As a team of seasoned composers and sound engineers, we feel passionate about the potential for sound to bring your stories to life.
Submit: [email protected]
Contact: [email protected]
Today's Lead:
Bleach Music
About: Welcome to Bleach Music! We’re an experienced music agency delivering quality bespoke and library music for commercial and creative purposes. As a team of seasoned composers and sound engineers, we feel passionate about the potential for sound to bring your stories to life.
Submit: [email protected]
Contact: [email protected]
Day 72 - 6/23/25
Today's Lesson - The Proper Way To End Your Tracks For Licensing:
When you're composing tracks for television and films, it's important that your tracks don't fade out at the end. The reason is that when your tracks fade out, it's harder for music editors to make the end of your tracks fit to a scene. It's easier to work with tracks that have an abrupt ending. The exception is if you're specifically asked to create a track that fades out. There are always exceptions. But generally speaking, it's best to have tracks that don't fade out.
Today's Assignment:
Today's assignment is to watch today's video tutorial from TV composer Eddie Grey. Eddie goes into more detail on this topic and breaks down how to end your tracks.
Today's Lesson - The Proper Way To End Your Tracks For Licensing:
When you're composing tracks for television and films, it's important that your tracks don't fade out at the end. The reason is that when your tracks fade out, it's harder for music editors to make the end of your tracks fit to a scene. It's easier to work with tracks that have an abrupt ending. The exception is if you're specifically asked to create a track that fades out. There are always exceptions. But generally speaking, it's best to have tracks that don't fade out.
Today's Assignment:
Today's assignment is to watch today's video tutorial from TV composer Eddie Grey. Eddie goes into more detail on this topic and breaks down how to end your tracks.
Today's Lead:
Ocular Sounds
About: Premium Sound Effects and Music to Make Your Content Unforgettable
Submit: We are always on the lookout for creative talent to join our team. Please send a short motivational letter, your resume, and examples of your most recent or proudest work to [email protected].
Contact: Contact
Day 73 - 6/24/25
Today's Lead:
APL Publishing
About: We create and place functional and high-end music for TV, commercials, film, and media productions on all platforms worldwide. We currently have over 40.000 tracks spread across 21 labels and more than 3000 albums.
When creating new music, we provide our composers with briefs based on the market's current needs. We work with amazing composers and producers to serve and challenge music users around the world. Our catalog is built up by one main label and several boutique labels specializing in clear and specific genres, styles, and periods. For licensing, our home market is Germany, and we are based in Munich. The rest of the world is licensed through our partners with local expertise.
Submit: Contact
Contact: Contact
Today's Lead:
APL Publishing
About: We create and place functional and high-end music for TV, commercials, film, and media productions on all platforms worldwide. We currently have over 40.000 tracks spread across 21 labels and more than 3000 albums.
When creating new music, we provide our composers with briefs based on the market's current needs. We work with amazing composers and producers to serve and challenge music users around the world. Our catalog is built up by one main label and several boutique labels specializing in clear and specific genres, styles, and periods. For licensing, our home market is Germany, and we are based in Munich. The rest of the world is licensed through our partners with local expertise.
Submit: Contact
Contact: Contact
Day 74 - 6/25/25
Today's Lead:
Evolving Sound
About: Our mission is simple: to provide our clients with outstanding, forward-looking and uncompromising scores for trailers, promos, TV spots and campaigns, working with the best musicians and production talent available. No short-cuts, no padding, no excuses. We produce highly responsive trailer tracks that anticipate the ever-changing landscape of trailer music, and maintain the very highest standards of composition, musicianship and cutting-edge production. Tracks custom-built to enrich, enhance, illuminate and contextualise awesome visual content.
Submit: Evolving Sound Trailer Music & Dynamic Scores for TV & Film - Contact Us
Contact: Evolving Sound Trailer Music & Dynamic Scores for TV & Film - Contact Us
Today's Lead:
Evolving Sound
About: Our mission is simple: to provide our clients with outstanding, forward-looking and uncompromising scores for trailers, promos, TV spots and campaigns, working with the best musicians and production talent available. No short-cuts, no padding, no excuses. We produce highly responsive trailer tracks that anticipate the ever-changing landscape of trailer music, and maintain the very highest standards of composition, musicianship and cutting-edge production. Tracks custom-built to enrich, enhance, illuminate and contextualise awesome visual content.
Submit: Evolving Sound Trailer Music & Dynamic Scores for TV & Film - Contact Us
Contact: Evolving Sound Trailer Music & Dynamic Scores for TV & Film - Contact Us
Day 74 - 6/25/25
Today's Lead:
Bleeding Fingers
About: Bleeding Fingers Music is an award-winning collective of exceptional, sonically diverse composers who create superlative original film, television and multimedia scores. Co-founded by Hans Zimmer, Russell Emanuel & Steven Kofsky, Bleeding Fingers is guided by the principle that collaboration is the catalyst for innovation—and extraordinary music results from empowering artists to be adventurous, experimental and creatively generous. With 20 state-of-the-art studios and its best-in-class production team, Bleeding Fingers enables the production of music at the highest standard, always challenging the status quo.
Submit: About | Bleeding Fingers Music (Contact form)
Contact: About | Bleeding Fingers Music
Today's Lead:
Bleeding Fingers
About: Bleeding Fingers Music is an award-winning collective of exceptional, sonically diverse composers who create superlative original film, television and multimedia scores. Co-founded by Hans Zimmer, Russell Emanuel & Steven Kofsky, Bleeding Fingers is guided by the principle that collaboration is the catalyst for innovation—and extraordinary music results from empowering artists to be adventurous, experimental and creatively generous. With 20 state-of-the-art studios and its best-in-class production team, Bleeding Fingers enables the production of music at the highest standard, always challenging the status quo.
Submit: About | Bleeding Fingers Music (Contact form)
Contact: About | Bleeding Fingers Music
Today's Lesson - Staying Positive:
A big element of being successful in the music industry is being positive and having a healthy mindset. The music industry is a competitive and at times, very difficult business. It's easy to get discouraged and become cynical about the music business, if you're not careful. It's really important to stay focused on why you're pursuing a career in music, what it is you love about making music and not lose sight of this passion when things don't get your way. Almost inevitably, we also face periods where we're either not progressing as fast as we'd like, or we're not progressing at all. In my experience, this is perfectly normal in the life of a musician. During these periods it's helpful to take a step back and remain in touch with what it is that draw us to wanting to make music in the first place. Then, as you move forward, be sure to celebrate EVERY victory. No matter how small or insignificant you feel it is. You signed your music to a new library? Awesome! Take yourself out to dinner. You got a five second placement on a cable TV show? Amazing! Drinks on you. You wrote an incredible new song that you feel is perfect for licensing? Great. Have a few friends over to share the song and celebrate your creation. The point is that you should give yourself credit for every step forward you make, no matter how small you think it is. Success in this industry is comprised of a lot of very small steps forward. You might get one big lucky break, but most likely you will inch your way forward, one step at a time.
Today's Assignment:
Today's assignment is to watch the video below that goes deeper into my thoughts about why I think it's important to stay positive.
Today's Video Tutorial:
Today's Lesson - Staying Positive:
A big element of being successful in the music industry is being positive and having a healthy mindset. The music industry is a competitive and at times, very difficult business. It's easy to get discouraged and become cynical about the music business, if you're not careful. It's really important to stay focused on why you're pursuing a career in music, what it is you love about making music and not lose sight of this passion when things don't get your way. Almost inevitably, we also face periods where we're either not progressing as fast as we'd like, or we're not progressing at all. In my experience, this is perfectly normal in the life of a musician. During these periods it's helpful to take a step back and remain in touch with what it is that draw us to wanting to make music in the first place. Then, as you move forward, be sure to celebrate EVERY victory. No matter how small or insignificant you feel it is. You signed your music to a new library? Awesome! Take yourself out to dinner. You got a five second placement on a cable TV show? Amazing! Drinks on you. You wrote an incredible new song that you feel is perfect for licensing? Great. Have a few friends over to share the song and celebrate your creation. The point is that you should give yourself credit for every step forward you make, no matter how small you think it is. Success in this industry is comprised of a lot of very small steps forward. You might get one big lucky break, but most likely you will inch your way forward, one step at a time.
Today's Assignment:
Today's assignment is to watch the video below that goes deeper into my thoughts about why I think it's important to stay positive.
Today's Video Tutorial:
Today's Lead:
The Hit House
About: About - The Hit House
Submit: [email protected]
Contact: [email protected]
Day 74 - 6/27/25
Today's Lead:
Human Worldwide
About: Founded by composers in service of the world’s biggest brands, Human has always championed music’s ability to inspire and provoke emotion. Human has crafted soundtracks for stories told across advertising, broadcast, film, and digital media, with services ranging from composition to sound design, and from supervision to audio post with our newly minted sister company, Post Human.
Submit: [email protected] (James Wells - Managing Director)
Contact: [email protected] (James Wells - Managing Director)
Today's Lead:
Human Worldwide
About: Founded by composers in service of the world’s biggest brands, Human has always championed music’s ability to inspire and provoke emotion. Human has crafted soundtracks for stories told across advertising, broadcast, film, and digital media, with services ranging from composition to sound design, and from supervision to audio post with our newly minted sister company, Post Human.
Submit: [email protected] (James Wells - Managing Director)
Contact: [email protected] (James Wells - Managing Director)
Day 74 - 6/28/25
Today's Lead:
OPM Music
About: About | OPM · Sourcing Music & Sound for Moving Content
Submit: Contact | OPM · Sourcing Music & Sound for Moving Content
Contact: Contact | OPM · Sourcing Music & Sound for Moving Content
Today's Lead:
OPM Music
About: About | OPM · Sourcing Music & Sound for Moving Content
Submit: Contact | OPM · Sourcing Music & Sound for Moving Content
Contact: Contact | OPM · Sourcing Music & Sound for Moving Content
Day 74 - 6/29/25
Today's Lead:
Black Acre
About: Black Acre provides an easy one stop solution for music supervisors spanning our label catalogue and clients. We also offer bespoke composition and sound design from a range of electronic, live and neo-classical artists. Previous clients include Adidas, Hugo Boss, Smirnoff, HBO, Rockstar Games, Disney, Clarks Originals and Red Bull.
Submit: Contact — Black Acre
Contact: Contact — Black Acre
Today's Lead:
Black Acre
About: Black Acre provides an easy one stop solution for music supervisors spanning our label catalogue and clients. We also offer bespoke composition and sound design from a range of electronic, live and neo-classical artists. Previous clients include Adidas, Hugo Boss, Smirnoff, HBO, Rockstar Games, Disney, Clarks Originals and Red Bull.
Submit: Contact — Black Acre
Contact: Contact — Black Acre
Day 75 - 6/30/25
Today's Lesson - Pitching Your Music:
In a previous post I talked about the importance of developing a game plan for your career. If you want to make music and music licensing a career, you need to approach it like a career. In today's post I want to talk about pitching your tracks. Apart from making music, the actual pitching of your tracks is the most important thing you can focus on, when it comes to licensing your music. You'll need to set aside considerable time to researching projects and companies, sending your music to libraries and supervisors, and pitching your tracks to music supervisors. This is really where the real work comes in, in terms of getting your tracks licensed.
How much time should you spending pitching and submitting material? This really varies depending on where you are in your career, but I would suggest setting aside a day a week to devote to nothing else than pitching your tracks. If you don't have that much time, start with a few hours a week. The main thing is that you are consistently getting your music to people and connecting with players in the industry. It's way too easy to get a little momentum going and then forget to make this a part of your regular schedule. The pitching and submitting never really stops. Of course it gets easier as you make connections and build a network of people you're working with. But you want to always be connecting and expanding your network of people and places you license your music through, if your goal is to make a full time living from licensing.
Today's Assignment:
Today's assignment is to check out my podcast with songwriter, Michele Vice-Maslin. This is one of the better podcasts I've done and Michele really lays out a great framework for how to work in the music licensing industry. Michele has had thousands of placements over the years on shows like Sons Of Anarchy, Pretty Little Liars, Joan Of Arcadia, Malcolm In The Middle, Guiding Light, The Hills, Laguna Beach, Ugly Betty and many more.
Today's Lesson - Pitching Your Music:
In a previous post I talked about the importance of developing a game plan for your career. If you want to make music and music licensing a career, you need to approach it like a career. In today's post I want to talk about pitching your tracks. Apart from making music, the actual pitching of your tracks is the most important thing you can focus on, when it comes to licensing your music. You'll need to set aside considerable time to researching projects and companies, sending your music to libraries and supervisors, and pitching your tracks to music supervisors. This is really where the real work comes in, in terms of getting your tracks licensed.
How much time should you spending pitching and submitting material? This really varies depending on where you are in your career, but I would suggest setting aside a day a week to devote to nothing else than pitching your tracks. If you don't have that much time, start with a few hours a week. The main thing is that you are consistently getting your music to people and connecting with players in the industry. It's way too easy to get a little momentum going and then forget to make this a part of your regular schedule. The pitching and submitting never really stops. Of course it gets easier as you make connections and build a network of people you're working with. But you want to always be connecting and expanding your network of people and places you license your music through, if your goal is to make a full time living from licensing.
Today's Assignment:
Today's assignment is to check out my podcast with songwriter, Michele Vice-Maslin. This is one of the better podcasts I've done and Michele really lays out a great framework for how to work in the music licensing industry. Michele has had thousands of placements over the years on shows like Sons Of Anarchy, Pretty Little Liars, Joan Of Arcadia, Malcolm In The Middle, Guiding Light, The Hills, Laguna Beach, Ugly Betty and many more.
Today's Lead:
Supreme Music
About: Music | Supreme Music
Submit: Supreme Music
Contact: Supreme Music
Supreme Music
About: Music | Supreme Music
Submit: Supreme Music
Contact: Supreme Music
Day 76 - 7/1/25
Today's Lead:
Hear Dis
About: HearDis! | About
Submit: [email protected]
Contact: [email protected]
Today's Lead:
Hear Dis
About: HearDis! | About
Submit: [email protected]
Contact: [email protected]
Day 77 - 7/2/25
Today's Lead:
RMR Music
About: Captivating Music for Film, Video & Advertising • RMR Music
Submit: Contact Us • RMR Music
Contact: Contact Us • RMR Music
Today's Lead:
RMR Music
About: Captivating Music for Film, Video & Advertising • RMR Music
Submit: Contact Us • RMR Music
Contact: Contact Us • RMR Music
Day 78 - 7/3/25
Today's Lesson - Pitching Directly To Music Supervisors:
In general, I recommend those that are new to music licensing, get started by working with music libraries and music publishers. In my experience it's easier to get started this way. Many supervisors are NOT open to working with unknown songwriters and tend to have people they have established relationships that they prefer to work with. Of course, there are exceptions and some supervisors may be open to working with you, if you approach them at the right time, with the right material. Music supervisors needs changed on a project to project basis, so if you do decide to pursue this route, it's important that you only pitch them music that is relevant to their needs. How do you find this information? Well, it takes a little digging on places like IMDB, Variety magazine, Google, checking out their websites and so on. It takes doing some detective work, connecting and getting to know them in order to find out their needs and so forth. This is why in most cases, it's much easier to start out working with libraries and publishers who tend to already have established relationships with music supervisors. Publishers and libraries also tend to work with a much broader range of music, stylistically, since their aim is to create a catalog that will serve the needs of their broad range of clients and projects, which makes getting your music accepted a much easier process.
Today's Assignment:
Today's assignment is to check out the below video that goes into more detail on pitching directly to music supervisors,
Today's Video Tutorial:
Today's Lesson - Pitching Directly To Music Supervisors:
In general, I recommend those that are new to music licensing, get started by working with music libraries and music publishers. In my experience it's easier to get started this way. Many supervisors are NOT open to working with unknown songwriters and tend to have people they have established relationships that they prefer to work with. Of course, there are exceptions and some supervisors may be open to working with you, if you approach them at the right time, with the right material. Music supervisors needs changed on a project to project basis, so if you do decide to pursue this route, it's important that you only pitch them music that is relevant to their needs. How do you find this information? Well, it takes a little digging on places like IMDB, Variety magazine, Google, checking out their websites and so on. It takes doing some detective work, connecting and getting to know them in order to find out their needs and so forth. This is why in most cases, it's much easier to start out working with libraries and publishers who tend to already have established relationships with music supervisors. Publishers and libraries also tend to work with a much broader range of music, stylistically, since their aim is to create a catalog that will serve the needs of their broad range of clients and projects, which makes getting your music accepted a much easier process.
Today's Assignment:
Today's assignment is to check out the below video that goes into more detail on pitching directly to music supervisors,
Today's Video Tutorial:
Today's Lead:
Woodland Music Rights
About: About us – WOODLAND MUSIC RIGHTS
Submit: Contact – WOODLAND MUSIC RIGHTS
Contact: Contact – WOODLAND MUSIC RIGHTS
Day 79 - 7/4/25
Today's Lead:
Deep Syncers Music
About: About Us - Deep Syncers Music
Submit: Contact - Deep Syncers Music
Contact: Contact - Deep Syncers Music
Today's Lead:
Deep Syncers Music
About: About Us - Deep Syncers Music
Submit: Contact - Deep Syncers Music
Contact: Contact - Deep Syncers Music
Day 80 - 7/5/25
Today's Lead:
Sync Trackers
About: About us
Submit: Composing - Synctracks Production Music
Contact: Contact us - Synctracks Production Music
Today's Lead:
Sync Trackers
About: About us
Submit: Composing - Synctracks Production Music
Contact: Contact us - Synctracks Production Music
Day 81 - 7/6/25
Today's Lead:
The Music Case
About: Royalty Free Music by The Music Case - Stock Music for Productions
Submit: Submit your Music - Themusicase.com Music Library
Contact: Contact us - Royalty Free Music by The Music Case
Today's Lead:
The Music Case
About: Royalty Free Music by The Music Case - Stock Music for Productions
Submit: Submit your Music - Themusicase.com Music Library
Contact: Contact us - Royalty Free Music by The Music Case
Day 82 - 7/7/25
Today's Lesson - Seek And Take Advantage Of Opportunities:
When I was a student at Berklee College of music, one day I was in a songwriting class. My songwriting teacher had recently formed a publishing company and she was looking for tracks to pitch to the show ER. She told us that if we were interested, to stay after the class and talk to her and she would give us all the details on what she needed and how to submit out tracks. The class ended and all 30 or so students, except myself and two other students, left. Out of a class of 30 songwriting students, when presented with an opportunity to have our music on a nationally televised prime time show, only three students stayed and put in the effort to find out more about the opportunity.
Long story short, I wrote and recorded a track that she ended up pitching to the show and it didn't get accepted. But, I kept in touch with this particular teacher and several years later started writing songs for her publishing company and since then have had hundreds of placements as a result of our relationship. Even though I didn't license music successfully right away, I learned a valuable lesson, which is to always take advantage of opportunities that present themselves.
You never know how things will work out, but if you don't even try, then you definitely won't succeed. Once you start developing relationships with people in the industry, there's a good chance opportunities will start presenting themselves to you. They might be small opportunities at first. Maybe it's a chance to write a track for a specific show or project. Maybe someone you send your music to will indicate interest in having you make more of a specific style of track for their library. In the beginning, try to say yes to as many of these opportunities as possible. You never know which opportunity could lead to your big break.
Today's Video Tutorial:
Today's Lesson - Seek And Take Advantage Of Opportunities:
When I was a student at Berklee College of music, one day I was in a songwriting class. My songwriting teacher had recently formed a publishing company and she was looking for tracks to pitch to the show ER. She told us that if we were interested, to stay after the class and talk to her and she would give us all the details on what she needed and how to submit out tracks. The class ended and all 30 or so students, except myself and two other students, left. Out of a class of 30 songwriting students, when presented with an opportunity to have our music on a nationally televised prime time show, only three students stayed and put in the effort to find out more about the opportunity.
Long story short, I wrote and recorded a track that she ended up pitching to the show and it didn't get accepted. But, I kept in touch with this particular teacher and several years later started writing songs for her publishing company and since then have had hundreds of placements as a result of our relationship. Even though I didn't license music successfully right away, I learned a valuable lesson, which is to always take advantage of opportunities that present themselves.
You never know how things will work out, but if you don't even try, then you definitely won't succeed. Once you start developing relationships with people in the industry, there's a good chance opportunities will start presenting themselves to you. They might be small opportunities at first. Maybe it's a chance to write a track for a specific show or project. Maybe someone you send your music to will indicate interest in having you make more of a specific style of track for their library. In the beginning, try to say yes to as many of these opportunities as possible. You never know which opportunity could lead to your big break.
Today's Video Tutorial:
Today's Lead:
Resonant Music Licensing
About: Custom Music for TV & Film - Resonant Music Licensing
Submit: Submissions - Resonant Music Licensing
Contact: Contact - Resonant Music Licensing
Resonant Music Licensing
About: Custom Music for TV & Film - Resonant Music Licensing
Submit: Submissions - Resonant Music Licensing
Contact: Contact - Resonant Music Licensing
Day 83 - 7/8/25
Today's Lead:
Bspoke Music
About: About us — Bspoke Music
Submit: Contact Us — Bspoke Music
Contact: Contact Us — Bspoke Music
Today's Lead:
Bspoke Music
About: About us — Bspoke Music
Submit: Contact Us — Bspoke Music
Contact: Contact Us — Bspoke Music
Day 84 - 7/9/25
Today's Lead:
Chromium Music
About: Chromium Music Group
Submit: Contact — Chromium Music Group
Contact: Contact — Chromium Music Group
Today's Lead:
Chromium Music
About: Chromium Music Group
Submit: Contact — Chromium Music Group
Contact: Contact — Chromium Music Group
Day 85 - 7/10/25
Today's Lead:
Silverdrum
About: Silverdrum
Submit: Contact Frederik Thybo: [email protected]
Contact: Silverdrum
Today's Lead:
Silverdrum
About: Silverdrum
Submit: Contact Frederik Thybo: [email protected]
Contact: Silverdrum
Day 86 - 7/11/25
Today's Lesson - Put In The Work, Even When The Return On Investment Isn't Clear:
There are many paralells between being an entrepreneur and being a musician. As an indie musician, you are, for all intents and purposes, an entrepreneur. As someone who has made a living as both a musician and an entrepreneur in business for the last ten years, I've learned a few things about the mindset needed to succeed as both a musician and entrepreneur.
One of the key differences in the mindset of an entreprenuer vs the mindset of an employee, is that when you're an entrepreneur you need to put in time and effort into actions and activities in which you won't know exactly what the return on your investment will be until you've taken action. This is probably the hardest shift you need to make to be successful in either business or music. You need to put in work, lots of work, and at first the return on your investment won't be obvious, and will be hard to quantify. But if you persist, you'll start to reap the rewards. For example, you'll need to write and record tracks and spend time pitching them. It will take awhile, most likely, to build momentum. But in general, the more action you take and the more persists, the greater your reward and results will eventually be.
In other words, there will be a payoff, but you probably won't know exactly when it will come or how big the payoff will be until you put in the work. This might actually be the single biggest obstacle musician new to licensing will face. It's such a different mindset than going to work to collect a check and essentially trading your time for x number of dollars. In the beginning, you need to think long term and stay focused on the big picture, what your goals are in the long term and not be overly worried about how quickly you're going to get there. Stay focused on the work in front of you that's required and take one step at a time!
Today's Assignment:
Today's assignment is to watch the video tutorial below that breaks down the "Three Elements Of Writing Music For Licensing".
Today's Video Tutorial:
Today's Lesson - Put In The Work, Even When The Return On Investment Isn't Clear:
There are many paralells between being an entrepreneur and being a musician. As an indie musician, you are, for all intents and purposes, an entrepreneur. As someone who has made a living as both a musician and an entrepreneur in business for the last ten years, I've learned a few things about the mindset needed to succeed as both a musician and entrepreneur.
One of the key differences in the mindset of an entreprenuer vs the mindset of an employee, is that when you're an entrepreneur you need to put in time and effort into actions and activities in which you won't know exactly what the return on your investment will be until you've taken action. This is probably the hardest shift you need to make to be successful in either business or music. You need to put in work, lots of work, and at first the return on your investment won't be obvious, and will be hard to quantify. But if you persist, you'll start to reap the rewards. For example, you'll need to write and record tracks and spend time pitching them. It will take awhile, most likely, to build momentum. But in general, the more action you take and the more persists, the greater your reward and results will eventually be.
In other words, there will be a payoff, but you probably won't know exactly when it will come or how big the payoff will be until you put in the work. This might actually be the single biggest obstacle musician new to licensing will face. It's such a different mindset than going to work to collect a check and essentially trading your time for x number of dollars. In the beginning, you need to think long term and stay focused on the big picture, what your goals are in the long term and not be overly worried about how quickly you're going to get there. Stay focused on the work in front of you that's required and take one step at a time!
Today's Assignment:
Today's assignment is to watch the video tutorial below that breaks down the "Three Elements Of Writing Music For Licensing".
Today's Video Tutorial:
Today's Lead:
BCN Sound
About: BCNSOUND - Original Music and Sound Design
Submit: if you are a composer, musician or engineer looking to make contact about working with us, do please send links to your work and covering letter explaining why you would like to work with us. If we don't reply quickly, please don't be offended, we are probably just very busy. thanks!
Submit here: BCNSOUND - Original Music and Sound Design
Contact: BCNSOUND - Original Music and Sound Design
Day 87 - 7/12/25
Today's Lead:
Echoic
About: About - Echoic Audio
Submit: About - Echoic Audio (Contact)
Contact: About - Echoic Audio (Contact)
Today's Lead:
Echoic
About: About - Echoic Audio
Submit: About - Echoic Audio (Contact)
Contact: About - Echoic Audio (Contact)
Day 88 - 7/13/25
Today's Lead:
Molecular
About: Molecular Sound | Contact
Submit: Molecular Sound | Contact
Contact: Molecular Sound | Contact
Today's Lead:
Molecular
About: Molecular Sound | Contact
Submit: Molecular Sound | Contact
Contact: Molecular Sound | Contact
Day 89 - 7/14/25
Today's Lead:
Mercuri Music
About: Original Music Composition & Sound Design | Mercuri Music
Submit: Original Music Composition & Sound Design | Mercuri Music
Contact: Original Music Composition & Sound Design | Mercuri Music
Today's Lead:
Mercuri Music
About: Original Music Composition & Sound Design | Mercuri Music
Submit: Original Music Composition & Sound Design | Mercuri Music
Contact: Original Music Composition & Sound Design | Mercuri Music
Day 90 - 7/15/25
Today's Lead:
Audio Moves
About: Audiomoves is run by individuals who have a passion and knowledge for modern ambient music and understand how the right sound can conjure an authentic connection between brand and consumer.
As avid music enthusiasts we have built up an extensive library of exclusive sounds covering ambient, electro-acoustic, modern classical, electronic and microsound genres. We work closely with artists and can source unique music and bespoke compositions designed to meet each project specification.
Submit: Audiomoves — Contact
Contact: Audiomoves — Contact
Today's Lead:
Audio Moves
About: Audiomoves is run by individuals who have a passion and knowledge for modern ambient music and understand how the right sound can conjure an authentic connection between brand and consumer.
As avid music enthusiasts we have built up an extensive library of exclusive sounds covering ambient, electro-acoustic, modern classical, electronic and microsound genres. We work closely with artists and can source unique music and bespoke compositions designed to meet each project specification.
Submit: Audiomoves — Contact
Contact: Audiomoves — Contact