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Thank you for having me, here ))) I am a physically disabled person. Some of my music is produced without using hands, including mixing and mastering. I live in low income housing, on income of $1000 a month, please don't judge me, too harshly
These two tracks easily fit the potential of Synchronization Licensing, the background music you hear in TV ads, TV shows, movie soundtracks. It is a huge market, a global market. This second one, "Naronia: Strange To Come By" seems to me, a layman, to have 'cut points' where short segments could be separated out for Synch. Licensing. Some pieces you hear on the net are only six seconds long. Others 10/15 sec. Others 30. Some are whole songs, minutes long. Pay attention to that background music, wherever you hear it, and imagine; someone got paid for the 'use' of that. And they still owned it. After the 'use' contract expires, they can market it again for another 'use'. Music Supervisors, sometimes called Broadcast Producers, have a budget to 'License' such product. If you have 'product' in the can, recorded, and skills to make contact with them, solicit receipt of 'Briefs', the specifications for what they're looking for, and can match up your product with their specifications, to a reasonable degree, it could be very lucrative. They're always in a hurry, with a broadcast deadline to meet, a boss expecting performance, so you have to be able to respond as quickly as possible, which makes having product ready to record and zap out over the net a valuable skill set. I'm going to listen to your first post. I started there, found it interesting enough to wonder what you had posted here and came back. I know from the portion I heard there that it is unique in its own right, each of these three showing you're not limited in the sounds, the 'feel' you create. I think that's what the Music Supervisors may want, that diversity, that eclecticism. If you can transition from 'Creative' to 'Entrepreneur', the 'internet zap' modus operandi of Synchronization Licensing could be a lucrative exploration.
Thank you so much! Yes, I have been thinking about licensing, sounds pretty cool. The thing is, I cannot accept money from anyone, because I am on so many social, support programs. Right now, I donate everything, $15,000–20,000+ a year. I wouldn't mind working with a sync company, but that is really complicated, with the money. Right now, I have everything registered to me, on BMI and Soundexchange. Not sure how that would work... I had much stuff stolen from me.... So, right now, I am trying to figure out how to get more people to listen to the streaming services. People listen to Ed sheeran, Taylor swift on spotify and other services. There is no reason that they can't be listening to Michaels Lyric. Ultimate goal is to bring Michaels Lyric to stage, maybe by using all of these recordings in some creative way. Of course, what is the point of all this, and do I have enough time...? It seems like humans have much to learn. Can I help? Honestly, I don't think so... But, what else is there to do but to learn about God's Universe? So, all I can do is offer a verse......
Originally Posted by Gary E. Andrews
These two tracks easily fit the potential of Synchronization Licensing, the background music you hear in TV ads, TV shows, movie soundtracks. It is a huge market, a global market. This second one, "Naronia: Strange To Come By" seems to me, a layman, to have 'cut points' where short segments could be separated out for Synch. Licensing. Some pieces you hear on the net are only six seconds long. Others 10/15 sec. Others 30. Some are whole songs, minutes long. Pay attention to that background music, wherever you hear it, and imagine; someone got paid for the 'use' of that. And they still owned it. After the 'use' contract expires, they can market it again for another 'use'. Music Supervisors, sometimes called Broadcast Producers, have a budget to 'License' such product. If you have 'product' in the can, recorded, and skills to make contact with them, solicit receipt of 'Briefs', the specifications for what they're looking for, and can match up your product with their specifications, to a reasonable degree, it could be very lucrative. They're always in a hurry, with a broadcast deadline to meet, a boss expecting performance, so you have to be able to respond as quickly as possible, which makes having product ready to record and zap out over the net a valuable skill set. I'm going to listen to your first post. I started there, found it interesting enough to wonder what you had posted here and came back. I know from the portion I heard there that it is unique in its own right, each of these three showing you're not limited in the sounds, the 'feel' you create. I think that's what the Music Supervisors may want, that diversity, that eclecticism. If you can transition from 'Creative' to 'Entrepreneur', the 'internet zap' modus operandi of Synchronization Licensing could be a lucrative exploration.
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