Ever since streaming has become the primary way people consume music, the entire business model has been fundamentally transformed, replacing revenue from CD and record sales. While streaming can be a path to engaging new fans or promoting a live show, the truth is, that it takes a million or more streams to make a few thousand dollars. Since most artists and songwriters don’t come close to achieving that level of listeners, most make extraordinarily little money. If a record sells for $12 and you sell 50, you will earn $600, while 50 streams might make you a few cents.
Enter music licensing. This is a way for songwriters to grant use of their music for a fee while retaining ownership of that music. It can be in the form of retail outlets, TV shows, films, ads, or video games. If a song is used with a corresponding visual, it is referred to as sync licensing. This has become the predominant way for songwriters, especially independent artists, to earn a decent living. The person who chooses music for these placements is the music supervisor.
Having your music featured in a major TV show or film will not only earn you income but can get your music exposure with a wider audience. In some cases, the song can pave the way for fans to discover you, potentially resulting in thousands or even millions of streams. Even if listeners discover you through streaming alone, it’s like putting the cart before the horse since the chances of hitting those big numbers is low.
According to veteran music supervisor Chris Mollere, “sync is one of the rare true win-wins in this industry, where productions get the perfect musical moment for their storytelling, artists receive payment for the sync as well as long-term discovery, and audiences experience something that resonates on an even deeper level.” Mollere, who has music supervised and placed music in over 900 TV episodes and over 50 films (The Vampire Diaries, We Were Liars, Get Out and many more, and was just voted to a seat on the board of the Guild of Music Supervisors), has witnessed this time and time again.
With the explosion of sync over the past several years due to a plethora of shows being produced, there is a huge demand for more music; however, along with that comes more competition. That is even more reason to become as educated as you can about the business. The important thing to understand is that sync licensing is a business and there are “rules of the road,” so becoming familiar with them will highly benefit you before jumping in. While being a good songwriter is at the heart of it, doesn’t necessarily mean your song is right for a placement. You are no longer writing simply for the sake of your art, but as a vehicle to enhance a particular scene while moving the storyline forward. That means having the right song for the right moment. Mollere refers to this as “strategic songwriting.” The feeling viewers should experience is a perfect marriage between the song and that moment. Songs that work best don’t usually get too specific with details, names or dates but deal with more universal themes that can fit various scenarios.
Another crucial aspect of the business is metadata which is pertinent information about the song. This includes your contribution; whether you wrote it in its entirety or collaborated with others. Is there an outside publisher or is it self-published, and is the song released or unreleased. This information will always be required when pitching your music. Being on top of this demonstrates that you are a serious professional who has done their homework.
When trying to figure out where your music fits best, become familiar with as many shows as you can to get an idea of what supervisors are looking for. You can also go to the website imdb.com to see who is working on which shows and what their upcoming projects might be.
So, what can you do to increase your chances of getting your music placed? Fostering relationships with those in the industry is one of the most effective ways to achieve this. There are conferences and panels you can attend as well as courses that will not only provide necessary information but a chance to build on those relationships. There are also sync agents who place music for artists, but they do take a cut of your fee and it’s important to make sure they are working on your behalf.
As the business has grown, so have the number of “how to” courses, some more reputable than others. Often, they have considerable price tags and/or investment of time, making it a barrier to entry. Mollere, acutely aware of these obstacles, has recently launched The Sync School, a comprehensive course which takes into consideration not only an artist’s pocketbook, but also their time constraints. It covers everything from the fundamentals of sync to more advanced industry strategies and is not only geared to music creators, but also to those who might be considering a career in music supervision or as a sync agent. Taught by an experienced music supervisor, it offers a front seat to the business and the opportunity to work at your own pace by choosing the best package that suits your needs and goals.
Whatever path you choose, your best bet is to learn all you can about the business and what your strengths as a music creator are vis-à-vis the sync world. Music supervisors, many who are musicians first, not only know the value of placing the right song, but doing their job well depends on it. This interdependence is the key ingredient for success in sync. “Here’s my promise,” says Mollere; “No song is truly unsyncable. You just have to wait to find the right scene for it to find its home.”
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