Why Music Licensing Isn’t a Game of Chance
August 22, 2021
Do you think getting a sync placement is like winning the lottery?
If that’s the case, why do you think some artists get placements over and over again?
I tell you why in this short video blog, and the 3 steps that turn the odds massively in your favor.
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Hey! Give us a shout about anything really.
contact Sync Songwriter
Our goal is for you to start getting your music into TV & film.
I know licensing is not a lottery, but I’m still trying to match to opportunities. I just joined TAXI. I write in various styles so I’m digging through lots of opportunities. I don’t want to be a perfectionist, but I don’t want a reputation for sending to opportunities that don’t even come close.
That is really smart of you to be targeting your music, Betty. You certainly will have much better odds of getting placements this way.
My music just got picked up by a couple of music libraries in LA,what do you suggest is a good rule of thumb as to make sure they do their due diligence of getting the songs across to supervisor’s?
Thanks
Tuki
Unfortunately the downside of many music libraries is you end up floating in a sea of music along with everyone else. The library may not be motivated to pitch your music if some end users just peruse some of the thousands or millions of tracks on their own. This is precisely one of the reasons I created The Art Of The Song Pitch to show musicians how to get around this and get their songs across to music supervisors.
I think you should’ve mentioned the importance of personal relationships as well (all other things being equal, supervisors will always go with agents they trust over unsolicited pitches by independent artists). I have had a couple releases with Universal music production library and every year I get completely different results. Sometimes I make very little money, sometimes a lot more. I have zero control about what gets pitched and when. I’m thinking, people find my music scrolling through tracks and in that way it is indeed a game of chance or at least a game of clients search meets my keys data key words and then my track might get picked over other contenders…i honestly don’t think any library will actively promote your music. Unless you’re with a publisher or sync agent, and even then, without some notoriety, you will not get a lot of individual attention. Since most supervisors will no longer accept direct submissions, doing it yourself is also mostly a waste of time. So, in my humble opinion, it is a numbers game, produce a large amount of high quality tracks with fitting meta data and don’t spread yourself to thin. Try pitching to a whole bunch of libraries/agent until you have a personal relationship, THEN go all in and nurture that relationship.
Thanks for the comment. Yes, relationships are critical to long term success, but before that comes the things to get those relationships. Most musicians don’t even put themselves in a position to get those relationships. In terms of getting music to music supervisors, my students have great success doing that in The Art of The Song Pitch which is why I created it.
Hey Chris,
How do us musicians put ourselves "in a position to get those relationships"? I have been trying to get my music placed in TV for about 10 years now. Thank you
Adam
adamgilchrest.com
Most musicians don’t even put themselves
To me, the most important thing you said took about 2 seconds! The music has to be great. If it’s not then any time or money spent will be like swimming upstream. You might get lucky but I’m not driven by maybes. The 2nd most important thing would be feedback from those not involved in the creative process. I can’t listen to the "SUM of the parts", I’m too busy checking out each part, and what a great job I think I did. Let’s face it, the TEAM wins the game every time. I am creative, I can write and I can play because I worked hard at it. There is no way I’m
going to just throw my life’s work into a library and HOPE for the best!
One of these days you’ll be hearing from me.
Lee Demers
Electric Ensemble LLC
You definitely are on the right track with that, Lee.
I may be deluded but Chris YOU are the target. I’ve found vetting is getting harder every year. My old friends are sick of me asking even though they don’t say it. However a connection like you would know exactly when a song is ready and even who might like it. However your time is pricy cuz you’re experience demands it!’!! I’ve been preparing to get into a few programs but 1st impressions are even more important with people like you so my strategy is to get close to radio ready then bit the bullet and seek your counsel. That why we’ve thought you’ve known a little about me the last four months yet you still haven’t heard anything yet. If I have to focus on the three things it’s gotta be the song and production of at least theee songs and then we begin. Good news since four months ago is now I have a laptop with a DAW. So the road looks long and the competition is stiff but that’s why God made me such a fighter. Till then thanks for the free stuff you say online.
That sounds great, Paul! I am unfortunately too busy to listen to all the music that gets sent to me, but that is why you need to build yourself a new vetting group. You will get better answers that way. The way to no tire out your friends is to only send them music twice a year. Make sure you batch it so they are not listening to each individual song when it comes out, if that makes sense. Best of luck with your new recordings!
Thanks again, Chris! Now get that boat out and enjoy! Summer is almost gone…
Haha thanks, I am doing my best!
How do you find find and the contact info for the music supervisor
We have a custom contact guide we give to all our students which is easier than doing it the traditional way.
Hi Chris, Some of the finished recordings I have are versions of cover songs. Is it worth it ? Do the composers get all the compensation ?
Covers are absolutely worth it. Sometimes they are easier to place because they are familiar and you still get the whole sync fee. The copyright holders get the publishing royalties.
Excellent advice, Chris! Thanks!
Yeah, you bet, Julius. Thanks.
Thanks for this! An action plan. 2 Q: where do we find contact info for music supervisors and what resources are there to find whose music was in which shows, other than reading credits? Is there a database for that? Thanks!
We have a custom contact guide we give to all our students which is easier than doing it the traditional way.
Good motivating post Chris and your message is clear. Thank you, Jane
Good to hear, Jane. Thanks!
This may sound dumb but I am not sure how to send a "link". To send a link of all my music. I have about ten songs to send and this is what the supervisor needs. Can you advise?
There are several platforms that are good for sharing with music supervisors. The most important thing is to make sure you music is streamable and downloadable. It will be difficult to get through to music supervisors with cold emails if you don’t have all the steps down, but you might get lucky too.
Thank you for this reminder, Chris! I actually was going through the online training with Michael Elsner at the end of 2019, but lost my husband very unexpectedly in Jan. 2020 :((( But I DO have lots of music to share, and much more to compose (and submit for hopeful sync placements) — and I know that God isn’t finished with me (or my music) yet! Your video today inspired me, once again. Thank you!
I am so sorry to hear that Becky. I am happy you found a way to move forward and I think music is one of the best paths. Thanks for the kind words and I am wishing you the very best with your music!
Hello Chris and thanks for the information. I am from the old school with some success and now I am starting from scratch and find it overwhelming. My question is: I had submitted material to a small company a school from NYC and it did not go well. They loved my songs but not my humor. I do not wish to change for them, therefore I stopped contacting them. Is it best to stay away from humor all together or is it better to have harmless humor from time to time? I suppose it depends on the music supervisor. Thanks for your response. I hope to join you someday soon, Michael Elsner and Michael Walker.
Bruce Stuart Lee Just now ·
Hello Chris and thanks for the information. I am from the old school with some success and now I am starting from scratch and find it overwhelming. My question is: I had submitted material to a small company a school from NYC and it did not go well. They loved my songs but not my humor. I do not wish to change for them, therefore I stopped contacting them. Is it best to stay away from humor all together or is it better to have harmless humor from time to time? I suppose it depends on the music supervisor. Thanks for your response. I hope to join you someday soon, Michael Elsner and Michael Walker.
I haven’t tried to get any jobs yet by using sync licence, but when I do, I will definatly take these 3 things with me. Because it makes sense to achieve a sync deal by using these techniques. Thanks
Great to hear, Joseph!
Hello and thank you Chris, what about other markets like french music for me ?
Lots of international markets in different languages and Spanish is a strong one in the US too. Don’t forget Quebec. 🙂
Please tell me if I’m wrong about the opinion that I have… With all due respect,
This Shit is Wicked! There’s no such thing as an Independent Lable! It’s a made up term.
There’s no way you can make it BIG, or get Major licensing placements without a Major group or it’s Subsidiaries, which basically pose as so called Independent Lables…
The very same, own all of the known sites for putting your music online to sale. However, if your songs are on an internet radio rotation, the only listeners, have their own music on the same rotations…
They make a killing on the hope of the hopeless… IT’S all about the posting fees…
I don’t know about that, Pete. I just have my ample student successes to go by, and they are all indie musicians with no major labels behind them.
How should I appily for the lison???
Not sure what you are asking for, Raymond. Can you clarify?
Great clip and to the point.
1. If you have means to hire someone to do all that work so you can concentrate on writing, recording and delivering, the odds will definitely be in your favor.
2. If you’re a full time musician and can afford the above or DIY it could be close to 1.
3. If you have to work to make ends meet and spend whatever time you can afford for your music, chances aren’t even close to 1 and 2, I think.
And if, due to circumstances, the product (creation, recording, mastering, filming, etc.) comes from a one man shop, odds don’t look too good.
So what’s the objective?
At least a personal satisfaction if nothing else.
But again, great clip and to the point.
Thank you.
Jag7
Thanks Jerzy.
Albert Einstein: The Definition Of Insanity Is Doing The Same Thing Over And Over And Expecting Different Results."
Been in the BIZ for over 40 years with success at giging. But my online presence? OMG. Albert Nailed that. Just to old to play Nevada gigs anymore. At this point, Sync licencing is the path I will peruse. Thank you for all of the great information here. You ARE earning my trust. See you soon.