I just stole the first video to get your attention - but if you go here you'll find 7 videos of music supervisors telling you all the stuff you want to know about getting your music used in movies.
These folks are the ones that have done the music synchronisation for some massive films and the clips are from the New Mexico Music in Fim summit 2010.
This is very valuable stuff!
There's a lot of people on the web giving advice on how to succeed in the music industry and most don't have real world experience.
Sarah does - she doesn't talk and teach about the whole music industry - just her area of expertise which is music synchronisation - or, to you and me, how to get your music in movies and commercials.
She runs a revolving course every few months which is based on her 15 years as a music supervisor and her course that she develpoed for UCLA.
Like I said, she knows her onions.
But, here's the thing about her teaching - every time that she reopens the course she does a few video presentations covering some really great basic info - and they are free. I've seen the first one for the new course on how - exactly - you should submit your music to music supervisors and it's great. Information that you ought to know.
You have to sign up to see the video, but I wouldn't let that put you off. I know there are more free videos to come whilst she promotes the new session of the course and they'll be of the same high quality.
The course itself gets rave revies. We recommend very few things here that you have to pay for, but if you think synchronisation is a viable route for you and your music, there is no better advice than this.
But, whether you have any intention of buying or not, go and get the free advice in her promo sessions.
There's also loads of stuff on her Sarah Gavigan site (videos, info, etc) that is well worth checking out.
I was reading this article yesterday about how to target your music to get it in film and TV - at the writing stage.
And it's good. If a little wishful.
Like an actor, a song in a film, TV episode, or commercial has a role to play. The theme, lyric language, musical arrangement, and singer’s voice must work together to create an emotional moment for the audience. Watch films and TV shows that use songs. Here are just a few primetime TV dramas that use between two and ten songs per episode: The Vampire Diaries, Grey’s Anatomy, Smallville, Friday Night Lights, One Tree Hill, 90210, Life Unexpected, Gossip Girl, and there are many more. You can find a complete list at TuneFind.com.
As you watch these shows, notice how the songs underscore, reinforce, or deepen the viewer’s experience of the characters or situation. These are often strong songs that can stand alone as songs, expressing the artist’s creativity and message, yet they offer the film and TV industry what it needs. This is the sweet spot where you want to be. You’ve got good songs; now make them good film and television songs!
Easier said than done, I'm afraid.
I've licensed loads of music for films, TV and ads - and the truth is that, yes you can and should try to target your material so that it has the right emotional connection - but you probably are anyway as that is what people connect with! BUT, the licensing of a song is actually all about a moment where the music supervisor picks your song, sends it to the producer or ad aganecy and the planets align. You get lucky!
Some styles of music are more likely to get used - we do really well with our catalogue of what you'd call trip-hop (downbeat, moody and sparse) - but there's a place for all.
However, you have to be in it to win it and learning some best practice and things to avoid is going to really help. As will building up some connections to get your music to.
We will cover this (with a music synchronisation guide) in detail on the site in due course, but for now - check this out below.
There is a great new resource on YouTube where an experienced music supervisor is giving out her tips. The YouTube channnel is here. Go and check it out. You can get a load more specific tips if you sign up for her video series at her main site. I've found them to be pretty good information.
And here's one of her videos.
Image by Howdy, I'm H. Michael Karshis
Short and sweet post that has one cracking tip about how to find the right people to send your music to when pitching your music to movie music supervisors - use the IMDB database!
Getting your music placed in movies is not beyond the DIY musician - but it does require persistence and effort.
Music placement is when your music is licensed to be used in a movie, TV show, commercial, video game, or anywhere else you might hear original music. There are few things more exciting than getting paid to have your music placed, but getting paid without having to share the profit is even better.
If you are an independent band making a few waves, eventually someone will tell you they can get your music placed somewhere. It sounds too good to be true. And in the music industry, when it sounds too good to be true, it’s too good to be true.
Picture by Patrick Hoesly
One of the artists that I've worked with for many years relies solely on synchronisation licences for his income - that's when his tracks are licensed for a game, movie or TV (they are synchronised with visual images - hence the name).
It is a great way to earn a living making music and it's also obviously a great way to promote your music.
But, how do you go about it?
This article from Live Unsigned blog (which I've just found and has loads of great stuff on it) looks at 8 tips.
A recent article in Word magazine made the point that TV, Film and Game music placements are the new radio in terms of exposing your band to a mainstream audience. Top US TV shows like Greys Anatomy and House can expose bands to a new audience very quickly, making Music Supervisors very powerful within the industry.
BTW - I'd add that doing instrumentals and cut downs (20 seconds, 30, 45 and 60) with slightly different elements to the fore and having stems ready to be used to make alternative passes is a very wise investment in this field.
