Why Pitching To Music Supervisors Makes NO Sense To Me
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- Опубліковано 19 сер 2024
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Hi Jesse, great points and I agree but I will say, I do know have a producer friend here in Nashville that actually has had the vast majority of his placements through Music Sups. My most recent placement (Young and Restless) was gotten through a Music Sup he had connected me with. That being said, the majority of those he has built relationships with and generally does not just cold email them...although that has happened but that's not his norm.
I will also add you are absolutely correct that they get TONS of submissions every day and do have very little time if any to listen to them as they are usually working on a project at that time. Which brings me to where you REALLY hit the nail on the head...#3 ... they are almost always ONLY interested in songs that fit the project they are working on at that time. So, if by chance someone was to try to pitch directly to a Music Sup they REALLY need to do their homework and see exactly what that Sup is in need of at that moment...unlike libraries where they will hang onto tracks for when the time is right.
Thanks for clearing that up. I've felt that way, and haven't wanted to waste time with that approach. It seemed tedious and time consuming, without much of a return.
Hi Jesse, great video. I did get paid quite well from 2004-2006 from MTV, HGTV , and Fox (Fuel TV) which I still see to this day, by going directly to the supervisors. I did have a pretty good relationship with many of the supervisors, one was our friend who was at Fox who is now at Epic music. This WAS also at a time when supervisors were not getting bombarded with as music as they are now so I know things are MUCH different now. I'd be happy to go more in debt about this if and when we speak. I'm hoping to get an album reviewed by your service within the next week. Thanks again for video. - Ron
Thanks for sharing your experience Ronnen! And yes it sounds like in those earlier days it would have made more sense to try to pitch to Supervisors but these days things have dramatically changed. Happy for you!
It seems like a good library will be able to curate your music properly for appropriate projects. How can I know, as an outsider, what music is appropriate for a project when I’m not even on the creative team?
I agree. Although music libraries are never a guarantee, you substantially increase your chances of consistent placements vs trying to go through a music supervisor.
Hi Jesse, Great info regarding the volume of emails Sups receive each day. I answered "yes" to your poll because I have it in mind to pitch to the SUP who place my song on So You Think You Can Dance a few years ago. I still have her emails and when she sent me the DVD of the show, she even wrote ME a thank you note! So I'm going to take my chances with her. Otherwise, I agree with your strategy of pitching to libraries who have access to multiple SUPs and therefore multiple projects leading to greater chances of placements. :)
Great video Jesse. There's a business called Ari's Take Academy that focuses its students on pitching to Music Supervisors. However, the main caveat is that the students have to be performing artists and/or touring artists. That way their main source of income WAS NOT coming from sync but rather being used as another source of passive income. After hearing both ideas, I personally choose the music library route.
That makes more sense, but even with touring artists I think it still makes more sense to go with a Sync Agent who could potentially shop music to multiple supervisors and projects.
@@SyncMyMusic Agreed
Great video! I've thought a lot about this and I agree with what you're saying. The way I see it is that the Music Supervisors are at the top of the food chain. In order to get a foot-in-the-door with those people I would have to be trusted by them, have the exact music they're looking for, and develop a relationship with them. For me, I'm better off working through a music library since they already have trusted relationships with many Music Supervisors, understand what those Supervisors are looking for, and have something to gain by helping me get my music in front of those supervisors. If I go it alone, then I have to do all of that leg work that a music library would be doing and may only getting exposure to a limited number of Music Supervisors (if any at all). I'd rather spend my time making more music, and work with a library who can spend their time chasing music supervisors, especially given that I don't live in a place like LA, Nashville, or New York where it might make more sense to try to develop personal contacts with music supervisors.
Great points!
in interviews and panels, alot of music supervisors say send them music and say they use indie music. why would they say that if they don't mean it ??
Some of them may be interested in taking submissions, but the issue is the number of tracks you're up against going that route. How many other artists are sending them tracks when they say something like that? Likely more than 500
@@SyncMyMusic i hear u definitely but we're ( and i mean we artists ) are going to be up against 500 tracks anyway right.. I cold emailed Joel C High once and he was cool enuff to reply back twice. he didnt have anything for me at the time but he told me what he was looking for so and he wasn't a jerk about it so i think its worth it. a sync agent is probably the more efficient route but what do u if nothing is happening with ur sync agent? i think we should do both. use every means at our disposal , wisely of course. i've heard back from other music sups after carefully crafted cold pitch emails and i haven't heard back from some. each one helps. my 2 cent. thx Jesse!
@@MichaelBurnz Hey, whatever works I say go for it! This is why I partnered with Music Libraries that have proven tracks records of getting consistent placements. There's obviously no guarantees in the business, but I like to go where most of the action is to increase my odds.
@@SyncMyMusic Agreed my friend. It's the wild west out here !
Let me start by saying great video, I get what you are saying Jesse, but I guess the other guys are saying it wouldn't hurt to try and make some direct connections with a or some music supervisor, but I get it that you are saying that music composers should not depend on that alone
How does one find a sync agent- or is this term just another way of saying sync library?
I got you covered with this course: www.syncmymusic.com/optin-375316461585490527261
Would the biggest difference be the 'payday', between music supervisor direct vs library? I've been told (in the SyncSongwriter Course) , usually a single placement is around $5k (writer + pub share - all in), so you keep the total.Keep in mind here - these are big name supervisors on major shows, not some cable channel show. Yes it does require that you develop a relationship with the music supes over time, gain their trust etc, but yes most require songs and not instrumentals. Most music supes will build their own catalogue of songs over time, so I guess if they have some of your songs in there, it just may be suitable for a future project that they work on. Your music in a library, a pool, so to speak would be managed the same - although maybe have more opportunity for use if it's an instrumental. I've heard most of those big name supes will go to a library anyway if they need an instrumental or perhaps the shows 'hired composers' handle that side. Is one better than the other? what came first, the chicken or the egg?
Great points and questions! With Libraries you can still get paid those larger Sync Fees within 30-60 days (I've personally received up to $7,000 for a single track I produced through a Library). You make great points about the Sups going to Libraries for instrumental tracks.
@@SyncMyMusic Thanks for clarifying (your single track income), it's always is made to sound that instrumental tracks are in the $50-500 range......and we sure know those car ads pay way more than that. Looking forward to joining up.
@@anthonyrom3110 Yes that range is fairly normal for consideration fees (what the Library pays you up front to rep your music) but Sync Fees can still be earned in the thousands or tens of thousands through Libraries. Glad to have you join us!
i have an unrelated question, maybe you can help me out. When emailing music libraries, if my song is using a splice sample as the main melody, should i let them know? i've read the splice terms of service and all that so i know that as long as i add instruments and everything to the sample then its good for commercial use, atleast to my understanding. thanks for the great content!
This video explains the kinds of loops I recommend you stay away from: ua-cam.com/video/t9rRuk4oQ9A/v-deo.html