Fantastic advice from Amanda. I really appreciate how approachable she is. She has helped dispel some myths I've had around sending a 'cold email' to a music supervisor! Thanks Chris for this great interview!
Thank you, Chris SD and Amanda, for this extremely useful interview! I ordered Amanda's book - now available in print! - a couple of days ago. I particularly appreciate how Amanda explained that people pitching music to her need to earn her trust (for example, by embedding useful metadata into their tracks and by having an accurate sense of which projects she is working on + which types/eras of music is being used on those projects...) because she is often working on very tight deadlines and can NOT afford to discover - once a track has been approved and included in the edit - that there are unresolved ownership issues or the stems are not WAV quality or some other headache which could jeopardize HER ongoing working relationship with a particular showrunner/producer/director/etc.
This is so fabulous Chris and Amanda! Very insightful. I've read and love your book Amanda. This discussion is amazing and even more rich with ways we can get music to you that can make you successful. Hope to work with you soon.
She is 100% correct. I'm writing my music the same way. Muting the tv series and playing my music with the show on tv to match the idea of the drama. Not easy either. I started playing blues guitar to shows during drama scenes. Richie Zarmajian
@@nigelcarren Yes. Having great + accurate metadata (which I think includes contact info, master/publishing info, the key of the song, BPM, and a range of useful adjectives describing the song) seems to be very important so that a specific recording can be found when a supervisor is searching her/his folders of music (nowadays likely to be in their Disco account) as well as all of the songs in music libraries/catalogs...
Great interview. Amazing advice all the way through! Thank you for all of this valuable information! By the way I bought a copy of your paperback ed book Thinking in Sink by Amanda Krieger Thomas on Amazon. It is is piece of jewel ! I am so glad I got to know about you through Chris amazing course!🐝
Hey Jorge just wondering if in her book she discusses expanding festival rights once a film gets distribution - and how the fees are negotiated at that point.
@@roccosage8508 Hi rocco, not really. it tells you and teaches you how to approach music supervisors and how to pitch your music to them. basic understanding of music business is needed but she tells you what you need to know to pitch to sups! 😺
There is no rhyme or reason to pitching your music to film/tv. The "rule book" of pitching or the overarching process of placements is a made up process, by music supervisors, that ridiculously still holds to this day. Artists will continue to be scorned and taught lessons by these "music sups" as how to reach out and pitch. I've seen it first hand for many-many years. I've worked on both sides of the line and now in 2023, nothing has changed. Art doesnt have rules nor should ever live in a small box of "you cant do it that way". Besides, budgets are dwindling across the board. Music libraries are plugging into LLM's. Good luck artists.
Fantastic advice from Amanda. I really appreciate how approachable she is. She has helped dispel some myths I've had around sending a 'cold email' to a music supervisor! Thanks Chris for this great interview!
Thank you, Chris SD and Amanda, for this extremely useful interview! I ordered Amanda's book - now available in print! - a couple of days ago. I particularly appreciate how Amanda explained that people pitching music to her need to earn her trust (for example, by embedding useful metadata into their tracks and by having an accurate sense of which projects she is working on + which types/eras of music is being used on those projects...) because she is often working on very tight deadlines and can NOT afford to discover - once a track has been approved and included in the edit - that there are unresolved ownership issues or the stems are not WAV quality or some other headache which could jeopardize HER ongoing working relationship with a particular showrunner/producer/director/etc.
Just bought her book. She is so generous on the way to be respectful to the Supervisors' time.
Reaching out to Amanda Krieg Thomas because this video popped up. If you want in, now is the time. First come first serve.
This is so fabulous Chris and Amanda! Very insightful. I've read and love your book Amanda. This discussion is amazing and even more rich with ways we can get music to you that can make you successful. Hope to work with you soon.
Thank you, Amanda! That was great.
She is 100% correct. I'm writing my music the same way. Muting the tv series and playing my music with the show on tv to match the idea of the drama. Not easy either. I started playing blues guitar to shows during drama scenes. Richie Zarmajian
Do Music Supervisors prefer Mastered tracks?
@@totallycheckthisout Yes, most of them do I believe.
@@nicolemarieemusic Thank you for the info
Thanks for sharing such insights into how we can help the supervisors find the music they need.
They’re doing a fantastic job. 👍
I'd love to see some video detailing how to put metadata, where etc and what.
Yes please, I have been writing music for over 30 years and yesterday was the first time I had even heard the word!!! 🙈🏆🇬🇧
@@nigelcarren Yes. Having great + accurate metadata (which I think includes contact info, master/publishing info, the key of the song, BPM, and a range of useful adjectives describing the song) seems to be very important so that a specific recording can be found when a supervisor is searching her/his folders of music (nowadays likely to be in their Disco account) as well as all of the songs in music libraries/catalogs...
Awesome interview! Thank you for your generosity of information Amanda, thank you for your clear, well thought out questions Chris.
Thanks for the interview posting here on UA-cam Chris ad I will be buying the e-book.
Fantastically helpful and enjoyable interview. I've bought the book already!
How was it???
Great interview. Amazing advice all the way through! Thank you for all of this valuable information! By the way I bought a copy of your paperback ed book Thinking in Sink by Amanda Krieger Thomas on Amazon. It is is piece of jewel ! I am so glad I got to know about you through Chris amazing course!🐝
Hey Jorge just wondering if in her book she discusses expanding festival rights once a film gets distribution - and how the fees are negotiated at that point.
@@roccosage8508 Hi rocco, not really. it tells you and teaches you how to approach music supervisors and how to pitch your music to them. basic understanding of music business is needed but she tells you what you need to know to pitch to sups! 😺
18:40 Great advice!
she is fantastic and not so bad looking as well.
And thanks to Chris too!
great video , thank you :)
Great Information in this interview!! :)
Gems!
29:29
There is no rhyme or reason to pitching your music to film/tv. The "rule book" of pitching or the overarching process of placements is a made up process, by music supervisors, that ridiculously still holds to this day. Artists will continue to be scorned and taught lessons by these "music sups" as how to reach out and pitch. I've seen it first hand for many-many years. I've worked on both sides of the line and now in 2023, nothing has changed. Art doesnt have rules nor should ever live in a small box of "you cant do it that way". Besides, budgets are dwindling across the board. Music libraries are plugging into LLM's. Good luck artists.
Great session! @Lenny_oka