**Also, I will be releasing these educational blogs in a series. This was originally chapter two, but due to both the demand and the urgency that indie artists need to jump on Film/TV, I've posted this first. Stay tuned as I will break down for the next few days all of the stages you need to take next for your career! And be sure to join us on twitter (www.twitter.com/MellowMarketing) for new gig listings, insertion updates and deadlines as they happen around the clock!
Film/Television Insertions Are HUGE For Indie Artists
Why, you ask? Well, the licensing for a song by The Beetles is going to cost FAR more than a song by the latest kid you just heard for the first time on Pandora. Producers are more open to indie music, as 1) indie music is typically cheaper to license, and 2) many producers love to have their egos stroked as the guy who made a band famous. Alicen Schneider spoke about the fact that 75% of the music used by NBC is now independent music.
How Much Can Artists Expect to Get Paid?
There is a wide range in the amount of money artists can expect to get paid from a licensed track, much of which depends on usage. Variables include the length of the use, the thematic placement (is the song in the credits or in the background of a scene?), the budget of the production, if the song is for a one-time use or used as a recurring part of the promo for the production, and more. The more that is requested of the song, the more the song will be worth. It’s important to also note that when a song is used in TV or film, two licenses are needed: a synchronization license from the copyright owner of the music, as well as master recording license from the copyright owner of the sound recording (Keep in mind that if you aren't currently set up with a company to do so, Mellow Marketing will plug you into ASCAP who will make sure the money goes directly into your account!). These are two separate agreements, and typically, artists that control both their master rights as well as their publishing will do “All in” deals that cover both “sides” of the composition. But, you must make sure you have those rights, because it's not that they DON'T pay you, but they will keep the money sitting in their offices until you open an account. We've seen many artists here at MM who never even knew they'd make residuals and we had to dig up the money for them! Most artists can expect to receive anywhere from $1,500 to $15,000 for the master rights alone for one-time placements.
How To Successfully Submit!
Similar to traditional press, blog, or radio outreach, there are specific rules that artists should follow when pitching supervisors. Once you find the name of a specific supervisor that you want to target (the Music Business Registry is a good option for finding contact info), your package should follow these guidelines:
1) Although they take Mp3 files in emails, supervisors still primarily work with full art CDs. They prefer their music in proper jewel cases with a spine that lists the artists name and title. Madonna from Whoopsie Daisy (who has worked on “Smallville,” “One Tree Hill,” “Alias,” and “Felicity,” and others) said that she receives upwards of 150 submissions a week, many of which she files away. Artists have to make it as easy as possible for them to file your music, and find it later.
2) If you are burning a CD, be sure you have added all the track info to the individual songs (particularly artist and song names). If a supervisor burns your music into iTunes, you don’t want to be in their library as “Track 2.”
3) Clearance problems are always an issue. Make the publishing and master info as prominent as possible, especially if you control both. As stated previously, just drop us a message on here as to how to obtain that and we'll give you a hand!
How To Ruin Your Chances For Submission!
1) Be sure you are targeting the right show(Entourage = Hip-Hop/Hard Rock, One Tree Hill = Pop/Emo/Alternative, etc.) Supervisors hate emails that ask: “What are you looking for?” Know your show’s demo, and send them appropriate music. If you're ever wondering what shows are begging for new music or asking for a specific type, follow our Twitter as we post them while they come in.
2) Do Not Call. Supervisors have no time to spend on the phone. Quick email reminders are appropriate. Successful pitches are those that do not expect anything, and do not put too much pressure on the supervisor. Keeping in front of them is great; stalking them is not.
3) Do not ask them for opinions on your music. Supervisors are not A&R reps. Good music will stand out and get placed at some point.
Use Songpluggers
All supervisors have a trusted stable of songpluggers that they can go to in a pinch. Songpluggers (or independent licensing companies, such as myself) have relationships with all the supervisors in LA, know what their taste is in music, and can provide cleared music to them, which they can run with immediately. Indie artists should look into building a relationship with licensing companies that have these direct connections with the supervisors. One licensing company who remains to be my favorite is Trailer Park. (Be sure to check out their latest work with the trailer to Terminator Salvation!) However - do your homework on them. Like any promo area in the industry, there tends to be some false claims and embellishments. For example, I've laid everything as to how I have this info on my bio for this page. This is because I want to run an honest company and make myself eligible for the Better Business Bureau. Not many people do this, so be sure to ask the proper questions!!!(there will be a blog on that in the future, as well)
Music Licensing = Massive Competition
Everything comes at a price. But, the best ones cost hard work and effort;not just money. The labels are keenly aware of the importance of music licensing. Alicen Schneider related a story about Dave Matthews’ label sending Dave himself to play a one-on-one concert for her to showcase some of his new license-friendly music. But the bottom line is that if artists can find fans of their music in the supervisor, (or sometimes even a key actor, as was the now-famous situation with Death Cab for Cutie and their placements in the O.C.), indie bands have as much of a chance as a major label artist (if not more, with the smaller budgets) with success in music licensing.
This completes our first chapter in a series of many new blogs to come to help support all rising artists in this new version of the industry. Here is a preview of a few of the marketing lessons I will be posting on the way, that I hope you and your friends will subscribe to:
* How The Industry Titans Fell And Why You Have The Advantage!
* How to build the perfect EPK(Electronic Press Kit) to get you more gigs!
* Digital Distribution, Internet Radio From OUR Perspective and how to go about it the smart way!
* How to build your perfect business team (Agents, Managers and PR's)!
* Scams, Freuds and Theives! How To Spot The Liars From The Real Thing!
I want to give a thanks to everyone for reading! Mellow Marketing will be back at you shortly! If you have any questions or comments, leave them here in a message and we will reply to you as soon as possible! Be sure to leave us love and recommend us to your friends so we can keep this indie music world alive!
I want to give a big thanks to Mike King of Berklee Music. An amazing foundation dedicated to the music industry! This article was thanks to him, as well as Vyne Entertainment who have provided our clients with major label distribution.
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