The Synch. Lic. 5-day workshop (about an hour a day www.catchthemoonmusic.com ) is happening again, starting Monday, March 15, Pacific Standard Time, California Yo!
For those of you creating 'Broadcast Ready' Recordings, who own your Copyrights and Masters, who can sign a contract to 'clear' them for Licensing, it could teach you a way to monetize your music in these times that are a'changing.

Here's my email:

We’re so excited for the 5 Day Sync Songwriting Workshop! As a reminder, it starts on Monday, March 15th at 12 noon PST! This will be a powerful experience designed to show you how to get your songs licensed to ads, TV, and film.

Register Today!

We’re going to teach you so much, including...

🔥 What steps to take this year to get your songs licensed.

🔥 What kinds of songs music supervisors are looking for.

🔥 How to pitch your songs.

...and a ton more!

Register Today!

We want you to live life to the fullest- we want you to live ukiyo (in the moment). Are you doing that?
If you answered "no", then we invite you to sign up & show up.

If you can’t make it live, don’t sweat it! Each session will be recorded and sent out at the end of each challenge day.

We can’t wait to start changing your life.

Xo - Sonnet & John

PS - we have a few surprise guests coming! You won’t want to miss this!

Also, be aware of music union session players: https://musicindustryinsideout.com.au/session-musicians-know-rights/ Unless you have them sign a release form, they're part owner of the sound recording. And keep it simple, so the session player can't come back and say he didn't understand what he was signing. Here's one I use: http://schicksville.com/Release%20Form.doc

John

Sounds interesting. May not be able to watch it live, but nice to know the recording will be available for later viewing. I just saw a GEICO commercial using the Foundations’ hit Build Me Up Buttercup. So...there’s that.

Every piece of 'music' or 'sound' you hear in TV commercials, TV shows, movies, documentaries, had to be 'cleared' and 'licensed' for 'use'. The creator retains ownership, and can re-license it for other 'uses'. It can be very lucrative.
A certain well-known music industry entity contacted Cathy Heller of CatchTheMoonMusic to teach their 'artists' how to make a living while they were becoming 'artists', making a living singing Songs, recording and performing.
And it's a global market. Your creations could be licensed for use in other countries as well as the U. S.
The workshop's about an hour a day, with homework, to do the things working in that market requires, to learn how.
It's a remarkably under-served market almost anyone with recording capabilities, and internet skills can enter into.
If you've got 'supply' they've got 'demand'. Think of how many TV channels there are, and how many TV shows, how many commercial ads. All of them want music, or, I like to add, 'sounds'. I notice Movie Trailers often have dramatic sounds, 'slams', 'bangs', as well as 'music'. Intriguing.

Yes, TV & film use a lot of extra tracks. Just a reality check here… This isn’t a pep talk like a lot of books, classes and videos out there.

There are millions of tracks available for clients to pick from and a thousand plus libraries. Many libraries have slowed their submissions down since the pandemic. Some have even stopped accepting new music altogether. Many music libraries charge very little or nothing at all for licensing (gratis terms). There are exceptions though for movies, major network and prime time shows. Relying on your PRO’s seems to be the primary means of getting paid for most TV placements. And unless it’s major networks and prime time, it doesn’t pay much. That said, there are still possibilities in the TV & film market. The pandemic hasn’t affected that market, except for theater releases and the library submission process.

I’ve seen new TV/film music businesses develop. Often, they pop-up on Facebook. One that’s been advertising regularly charge a one-time fee of $49 to the client for royalty-free music, with a perpetuity term limit (meaning forever). For the one-time charge of $49 they can use as many tracks as they want and as often as they want, royalty free. The composers that submit to these companies are depleting the value of music and cutting their own throats in the process.

The best course of actions for composers is to find your own niche. Hopefully one that stands out from other composers. You’ll be remembered for you distinctiveness, and possibly develop a personal relationship with music supervisors. Always use descriptive words in your titles. Your music will pop-up more often in the client’s searches. And sad to say “less is more” doesn’t apply here. The more tracks you have in the system, the better chance of being heard. Although they better be “broadcast quality” – whatever that means. I guess that means make your tracks sound as good (or better) to what you’re hearing on TV/ film.

Okay, a little pep talk… The TV & film music business is booming and filled with endless possibilities. Go get ‘em!

John, speaking of “broadcast quality” and since you’ve had success with compositions licensed for TV, films, etc., do you hire a sound engineer to mix/master your sound recordings? My understanding is that b4 submitting to a sync company, your work quality would have to be up to standards. To me a sound engineer with success in the sync business would be someone to hire (if you can’t do it yourself). Same with “radio ready.” I’d just make sure the engineer knows what standard they need to meet. Would like to know how you do it. Thx, John

No, I’m self-contained – no mastering engineer. I don’t have any big secrets Craig. I just do everything in my power to produce the best quality tracks as possible. Then I listen off & on for a day or so before sending it out into the real world. Often, before sending it, I'll find maybe the tiniest flaw, that no one would notice. But I notice and go back and remix/ edit. About half my tracks are piano solos, so there isn't much mixing and no mastering per se. I'll add a pinch of reverb and maybe tweak the EQ. My orchestral tracks are a different story. I’ll use all the bells and whistles in Logic Pro to take it up a few notches. No reason why quality tracks at home can’t be attainable in this day in age.

Best, John

Good to know, thanks John!

I think if John were to hire sound engineers to work on his tracks, hed lose money on the deal!

He's in a good position of being able to use piano tracks, and they find them acceptable to use

If it was a rock band submitting, you can bet theyd want a fully produced recording of it.

Judging by recordings I hear on placement sites, id say its basicly the record that they are using. No demos of songs.

Another free workshop. Some other entity.
https://www.htlympremium.com/music-licensing-fundamentals-course1.html