Tag Archive for: Music Supervisor

How to License Your Music – 4 Steps to Get Started

How to License Your Music

Do the math. 1,000,000 streams on Spotify will get you approximately $3,000 in royalties.

1 MILLION STREAMS ON SPOTIFY!

Can you even hit that target in a whole year?

I’m not even sure I could make it in TEN years!

Here are 6 different ways you could make $3,000 with music licensing. It might take you a whole year when you’re first starting out but it certainly won’t take you 10 years to get there!

How to license your music income potential

Now doesn’t that seem much more achievable than 1 MILLION streams on Spotify?

And that’s just the tip of the iceberg when it comes to licensing music.

They are many other projects that could use your music PLUS the sales prices above are fairly conservative (you’ll see that with Songtradr’s own pricing tool featured later in this post).

This is WHY you need to look into music licensing.

Now let me show you HOW to license your music.

The first thing I want to tell you is that you don’t need to know every single technical aspect of music licensing to start looking for music licensing opportunities.

In the rest of this post, I will explain the essentials (exclusive versus non-exclusive deals, synch fees versus performance royalties, the role of music libraries, etc.) BUT I want to focus my attention on getting you to actually start DOING something!

Trust me, you’ll learn much more by “doing” music licensing than you will ever learn just reading about it. Even if you feel you’re not “ready” yet, the key is to start!

If you want more guidance on how to license your music, check out this online training program called Get Your Music Licensed.


Want more licensing tips like this? Click here and get this free ebook.


Everything you need to know about Licensing and Publishing Your Music ebook

So here it goes… 

How to License Your Music: Get Your Music Ready for Licensing

1. Pick 3 to 5 Tracks From Your Catalogue & Export MP3 and WAV Files

If you’re not sure they’re good enough, try anyway. You’ll soon find out. There’s nothing that kills the musician’s ambitions quite like perfectionism.

Still, here are a few guidelines to keep in mind for successfully licensing music.

  • Songs and/or instrumentals are fine. Explicit lyrics very rarely are.
  • No samples! Apple loops and such are fine. Samples from other artists’ work or copyrighted speeches are not.
  • You should own the rights to the tracks you’re submitting. In case of co-authors, make sure you’re all on the same page and ok to seek out licensing opportunities.
  • Check with your publisher and/or label (if you have one) before you doing anything with your music, including look for licensing opportunities.

Export high quality MP3s (preferably 320kbps) and WAV files (preferably 24bit, 48kHz).

Note that I wrote “preferably.” Again, if for whatever reason you can’t export your songs in those formats, just pick the next best option available!

For example, an MP3 256kbps or a WAV 16bit, 44kHz).

Here are some basic guidelines to keep in mind when it comes to audio quality:

  • 24 bit > 16 bit
  • 320 kbps > 256 kbps > 128 kbps
  • WAV = AIFF > MP3
  • 48kHz > 44kHz for any music that will be used on video (not in quality but simply because that’s the standard for TV/film)

2. Input Metadata

Make sure your audio files (MP3s and WAV) have the proper metadata attached to them.

This means that if you double click on the audio file and it starts playing in iTunes or whatever app you use to listen to your music, the following information will appear clearly and accurately:

  • Track name
  • Artist name
  • Album name
  • Genre
  • Recording or release date

If possible, add your email address in the “comments” or “additional information” section.

If you don’t know how to do this, I suggest researching “how to add metadata in iTunes” (or whatever system you’re using) in Youtube.

Audacity is a free tool you might also want to explore.

3. Create a Catalogue Spreadsheet

Take the time to create a spreadsheet or Word doc to track your catalogue.

Here is what it could look like:

How to license your music Licensing Spreadsheet

Include the name of the song, the description and a bunch of keywords that will come in handy when you upload them onto music libraries. Assign each licensing opportunity it’s own column to keep track of where songs are placed.

For now, all you need is the column with the track titles really but you might want to anticipate and start thinking about descriptions and keywords.

4. Register Your Songs with a PRO

Always register songs you plan on licensing with a Performance Rights Organisation (PRO).

If you already know what a PRO is and have already registered your songs with yours, move on to step 3!

PROs are the organisations that ensure that you get paid royalties when one of your tunes is performed on radio, TV, etc.

In the US, that could be ASCAP or BMI. In the UK it’s PRS. SACEM is the one in France.

You only need to register with one. PROs around the world collaborate with each other to collect royalties in their territory and coordinate with other PROs to get the composers paid.

There’s no need to be fancy about it. Just register with the PRO of your choice.

Check out this list of PROs to find out the options in your part of the world and how to license your music there.

Conclusion – How to License Your Music

Now you have a super simple roadmap that will get you started in no time. The next step is to start researching music libraries and submit your music!

If you want more to learn how to license your music with more comprehensive licensing guidance, check out our online training program called Get Your Music Licensed.

The class is part of the online music business training offered at New Artist Model.

If you are interested in promoting your music, check out the Music Business Accelerator program (MBA).

Joyce Kettering is a songwriter, composer, music licensing expert, and teacher of the Get Your Music Licensed! program. The music licensing methods she teaches has allowed her to quit her day job at a Fortune 500 company and be successful on licensing alone. 

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How to License Your Music – Finding Music Supervisors

In this short video we explain ways of finding music supervisors to help you in licensing your music.

Finding Music Supervisors

Most bands and musicians would love to get your music on TV and in Films. Getting your music placed in a film, TV show, or even video game is great exposure and can be a decent source of revenue. This kind of license is called a sync license and you can learn more about that here. The problem is, many see sync licensing as a game of chance or something that can’t really be pursued without a publisher. That is simply a myth and we’re going to focus on the first step of that problem right now – actually finding music supervisors. 

Check out this video to learn:

How to Get Your Music on TV and in Films

  • How to contact music supervisors
  • 3 tips to break through
  • The #1 thing to know when pricing your music

finding music supervisors

Finding Music Supervisors

Be Aware & Do Your Research

Music supervisors aren’t elusive mystical creatures on the internet – it’s pretty easy to find their direct email addresses with a little digging. The first step is to simply be aware of the music that is used in TV, films, commercials, games, or wherever you are looking to place your music. What shows use music similar to yours? What commercials could you hear your music in? 

Once you have some ideas, take a look at sites like IMDb, dig through the music department, and find the supervisor. TV series are probably the easiest place to start as they usually need an ongoing supply of new music with the same vibe.  You want to get proactive in licensing your music and doing your research is the place to start.

A critical thing to keep in mind is to make sure that the music you are pitching lines up with the music that they’ve used in the past and the overall vibe and mood of the series or brand, both musically and lyrically.  And make sure that the quality of the music you are pitching is where it needs to be to use on that show or that commercial.

If you need help with music production, you may want to consider getting your songs professionally critiqued.  You can also learn how to produce music yourself by checking out this online course called the Lucrative Home Studio.

Get to Know their Assistants

We all know that just finding music supervisors and cold emailing them doesn’t always work. Even if you do your research, write a killer email, and have the perfect song for the production, you could still hear nothing back. The fact of the matter is music supervisors receive a lot of emails – sometimes more than a thousand a day – and when you get that many, you just can’t read them all. 

A lot of times, music supervisors won’t even take unsolicited, or “cold” emails, but their assistants, who probably want to become supervisors themselves one day might be willing to check out your stuff. If you can find their contact information, try to start a relationship by asking for their opinion on your music and if they think it’s good they may hand it off to their boss.

Or even better, try and get someone in the industry to write an introductory email for you, to send to the assistant. Like any word of mouth marketing, a referral from a trusted source can be invaluable, and can be the difference in whether your music gets listened to or not.

Start Small

Getting started in music licensing is easy if you understand the basics. A smart way to help you in finding music supervisors is to prove that your music is licensable by starting small and working your way up. There are a lot of amateur and professional short filmmakers on YouTube, and all of them are looking for great music. Just try searching “short film” and you’ll get a long list of people who you can easily contact via email, social media, or YouTube messages. Make connections with these supervisors, and get started with some small sync deals. Once you start getting some smaller placements, you can move up to more and more professional productions, and when you’re ready for the big screen, you’ll already have a sync resume. 

Be Where They’re Looking

Many times, music supervisors will be sent music from publishing companies, but they’re music fans too and will also do their own research. With that in mind, you’re probably better off getting your music out there than you would be sitting in your room sending hundreds of emails a day to music supervisors. Upload your songs to music libraries, YouTube, get on playlists, and get out there and gig. 

Andrea Von Foerster, who has supervised for movies like Chronicle and 500 Days of Summer, uses YouTube to discover new indie bands and musicians. Ann Kline, supervisor for Shameless, a show set in Chicago, would actually call up local Chicago venues to get a vibe for what kind of indie bands were actually playing there. 

Make it clear that you have music available for licensing

Once you get a license and you want to take it to the next level, you need to figure out how to convert all those impressions into fans. Make it easy to find your name in relation to the show, commercial, or film. Post an article on your website talking about the placement, share the news with any bloggers you have connections with, and maybe even put a video up on YouTube about your experience.

Now that you have some ideas about finding music supervisors, it’s time to learn how to contact them and negotiate a deal.  You can learn more about that in this post on contacting music supervisors.

It is incredibly helpful to have a plan for licensing your music and finding music supervisors, so you can take matters into your own hands and make sure people hear your music – and that is where our webinars and online training comes in. We will teach you how to license your music so you will not have to depend on someone else to do it for you. We give you all the tools to get the work done yourself no matter what genre you write in or what your personal situation is –  so even if you have kids and a full-time job we have a system for you and a framework that you can really tailor to your specific situation.

The cool thing about licensing via music libraries is that once you do the prep work and research and get your metadata in place, you will have done the hard work required for sync licensing and you will be set up to start to generate recurring revenue from your music.  Contrast that with all the work you need to do to set up a single gig that you will only play once. That is the beauty and attraction of music licensing.

For more information check out this free music licensing webinar.

click to get the surefire method to license your music webinar

Get Your Music Licensed Webinar

To learn more about our online course Get Your Music Licensed, click here.

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Get Licensed: Contacting Music Supervisors

 

Photo credit: Kris Kesiak http://bit.ly/1oUdYvY

Photo credit: Kris Kesiak http://bit.ly/1oUdYvY

There has been a lot of buzz about music licensing in the music industry in recent years, and with good reason! Compared to other revenue streams, like streaming, licensing can have potentially big payouts for indie musicians. It’s also a pretty confusing aspect of the music industry. Just how exactly do songs get on those TV shows? The conductors behind these licenses are music supervisors.

What is a Music Supervisor?

Music supervisors oversee the music-related aspects of TV, films, and video games. It’s actually a much trickier job than you may think. They are in charge of interpreting the producer’s vision (which can be rather abstract), finding the right track, and negotiating the contract with the artists. Of course, there are MILLIONS of songs out there, so finding the right one is no easy task. On top of that, licensing for use in visual mediums is a juggling act, with as many as eight separate deals depending on how many parties are involved (songwriter, recording artist, record label, publishing company, etc.) and how the song will be used.

Despite the potential money involved, licensing is actually a pretty impartial industry in terms of the artists chosen. Music supervisors aren’t usually concerned with your career level. There are lots of instances where completely independent bands have gotten huge placements. Their priority is getting the right song, not plugging big-time artists. In fact, you only need 3 things to get started licensing your music for film and TV.

If you want more guidance on how to license your music, check out this online training program called Get Your Music Licensed.

OR

You can get started for free with this ebook: Everything You Need to Know About Licensing & Publishing Your Music. Click here to download the ebook for free.

Contacting Music Supervisors

Licensing music for film and TV is not a mass email business. That’s a good way to get blocked. It’s about taking the time to research and pin-pointing very specific opportunities. The first step is defining your musical style. What genre does your music best fit in? What mood do your songs tend to portray? Is your music reminiscent of songs from other bands or artists? Next, you’ll want to make a conscious effort to pay attention to the music used in commercials, movies, TV shows, and video games. Take note of any titles in which you think your music would work.

So how do you even know who to contact? The music supervisor is always listed in the credits and you can always find a name and email online with a little research. Luckily, there are also great tools like Musician’s Atlas that have already done the work for you, giving easy access to names and contact information. Email is your best bet, though it wouldn’t hurt following them on Twitter as well. You might get some insights as to what they’re looking for.

Keep it Brief

When emailing music supervisors, be as short and to the point as possible. They are busy people and the less time they have to spend digging for information, the better. Ultimately, you really want them to be able to tell exactly how your music sounds from just the subject line. Listing a few key description terms like genre and mood is a great idea. If you can pinpoint a well-known band your music sounds like, include that too. For example, your subject line could be “Uplifting, rock track, sounds like Foo Fighters.” Just from that short description it’s pretty easy to figure out what the track sounds like and, in turn, what placements it might fit best.

Music Submission Guidelines

It’s best to provide a link to a place where the supervisor can listen to the track instead of attaching an mp3. There’s a couple options here. You could provide a link to a hidden page on your website, which is pretty easy to do with all the website creation tools and services out there. You could also provide a link to an online press kit that is separate from your website. On this page, the supervisor should be able to listen to the track and download a WAV file. You should also include the instrumental version of the track. More times than not, lyrics interfere with the dialog, so an instrumental version of your song is a must!

Do NOT include all your songs, or even a full album on this page. Instead, do your research, know what the supervisor is working on, look at the music they’ve used in the past, and send them 1 song (3 songs tops) you think fits best. You’ll stand out from the crowd if you do your research and be prepared and professional.

Following Up

Do not send them hundreds of emails if you don’t hear back. They are people too, and like most people, they tend to block spam. Remember, just because they don’t have a place for your song now doesn’t mean a spot won’t come up in the future. If it’s the right song, it doesn’t matter if it’s a few years old. Supervisors have also been known to share tracks. If they are sent something that’s perfect for another supervisor’s project, they’ll forward it.

Stay Connected!

Above all, licensing for TV, film, and games is all about forging a relationship. Approach supervisors professionally, treat them like real people, and, if you score a licensing deal, keep the connection alive. Thank them for the placement, keep up on their new projects, and send them tracks if you see an opportunity in the future. Remember, a connection with one music supervisor could open the door to a huge web of networking.

 

 

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Get Your Music Licensed

Many musicians dream of their songs appearing on TV or in a film. Just wanting your music on TV isn’t enough! The chance that someone will come out of the blue and hand you money to use your song is very slim. You need to be out there promoting your own music and networking with people involved in the film and TV industries. Start small and work your way up from there! It will be hard to score a place on a hit TV show if you’ve never licensed any of your music before.

Sarah Sharp is one songwriter who has gotten a strong understanding of the publishing industry. Her songs have appeared in ads for Chanel, Dell, Macy’s, and ABC’s “Revenge.” In this article that originally appeared on Hypebot, she shares 7 tips she’s learned about getting licensed.

1. Go to film festivals. Make friends with filmmakers at every level of production & success.

I particularly get excited when I meet editors. Editors will often choose from their personal music library for temp music in their rough edits and often, everyone becomes accustomed to the temp music & it stays. Take a genuine interest in what people are trying to write or get made and help each other on the way up.

I have read my friends’ scripts and given feedback and made them mix tapes of indie artists years before the film finally gets made. The 1st film I music supervised was a Jason Lee, Crispin Glover film called “Drop Dead Sexy”. I probably earned $1/hr by the time it was all said and done for the time I put in, but one of my songs ended up in the film and I have made several thousand dollars in royalties from that one placement. BIG PICTURE.

2. Get a final mix of your entire album with no vocal.

There are a lot of places where the instrumental version of your song can be used. Also, it’s often helpful to be able to comp together both versions around the dialogue. This promo for ABC TV’s “Revenge” used our Kaliyo song “Deep Girl.” It barely resembles the full song, but they made great use of it by weaving both the instrumental and vocal version in and around the voice over.

3. Don’t be a pain in the ass and get out of your own way.

Sometimes people get a little whiff of success and they get so caught up in the idea of what could be or worrying about not “getting screwed”, that they blow the whole thing. If someone wants to use your song and you have never placed anything before, just say “YES & THANK YOU.” Reply immediately. Be the easiest, most reliable person to work with on the planet. Have a lawyer read your contract and then just say yes. A really smart and as yet still accessible/affordable music lawyer is Amy Mitchell. Tell her I sent you.

4. If you have a great cover version of a really well-known song, try to get it to the publisher of that song.

Often their hands are tied because they own the song, but the record label owns the really famous master. Some publishers would love to know about a fantastic version of their song that they can actually clear.

To see the other 3 tips, check out the full article on Hypebot.

Have you ever had your music licensed for TV or film? What are some things you’ve learned from your experiences? Share your own tips and thoughts in the comment section below!

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Alicen Schneider – VP NBC Universal TV Music

Alicen Catron Schneider is Vice President of Music Creative Services for NBC Universal and a music supervisor. Alicen is responsible for music supervision for hit TV shows including Heroes, Lipstick Jungle, Crossing Jordan, House, Monk, Surface, Eureka, LAX, Critical Assembly, Leap of Faith, ED, The Pretender, Tucker, Sunday Night Football and the Winter Olympics.

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