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5. Understand Music Libraries
A common question I get is, “What is a music production library?” Simply, they are music companies, like First Com, Megatrax, Sonoton, etc., who hire composers to produce music that’s affordable for all sorts of broadcast and film productions. So if a show wants a pop vocal song and can’t afford licensing a track by Rihanna from Def Jam, they go to a place like Killer Tracks and license a sound-alike. It’s pretty straightforward and simple for productions because these libraries own both the masters and the sync (publishing), so it’s a one-stop shop.
In the new millennium there has become a new business model for these libraries, places like Crucial Music, Pump Audio and Rumble Fish, where these companies aren’t hiring composers to build their catalog, but instead licensing tracks from a plethora of musicians out there and offering the songs up for licensing.
6. Check Out The Hollywood Reporter
This is the classic guide for TV and Film people through the decades. Thing is, it is also a great resource for music placement contacts. They offer nice online access to both TV and film productions, with the specific production data, like phone numbers and addresses. This resource doesn’t offer music supervisor information, so you have to call the main production number for each listing and ask them for the appropriate music contact. This is where cross referencing with your other directories comes into play; sometimes people are reluctant to give emails or numbers over the phone, so as long you have a full name you can look it up. More than likely you’ll find the detailed information you need.
7. Target Music Editors
While a music supervisor is more of an administrator, licensing the music from the various sources, a music editor physically places the music in the shows. A lot times music editors may temp in a piece of music and it will wind up staying in the show as a final. It is good then for editors to have your music at hand, so it’s immediately available to be placed. In the past, I’ve had a lot of success like this and it has sometimes turned into a productive business relationship. Some will even call on you personally to compose original score for them down the line.
As with music supervisors, the best way to connect with music editors is to reach out by phone and see if they are open to using outside source music and are able to license directly from artists. They can also refer you to the music supe they are working with on current shows. This goes for post-production facilities as well. You can contact post supervisors at the various houses and see if they are in a position to license music directly. Like editors, they drop in music at the last minute if a scene is not working. Access to your music is key for these people to place it in their productions.
miniBIO: Winner of multiple Emmy Awards, composer Brian Tarquin has established himself as a top-rate TV composer/guitarist. In 2006 SESAC honored him with the Network Television Performance Award. Tarquin produced and composed the Guitar Masters series, trading licks with such guitar greats as, Leslie West, Steve Morse, Billy Sheehan, Frank Gambale, Andy Timmons, Chris Poland (Megadeth) and Hal Lindes (Dire Straits). Visit http://tvfilmtrax.com
