CLEAR CHANNELS
Feb 1, 2006 12:00 PM, By Jane Fontana
A few years ago, I was leading a fun band, playing to great audiences and enjoying the L.A. scene. Then, a friend told me he was music-supervising a new show on MTV and wanted permission to use some of my recordings. He said there was no budget, and he probably couldn't get me a credit. It didn't sound too good, but he's a friend, and it was MTV, so I agreed.
About six months later, I got a sweet check from ASCAP from that gig, and I used the money to make more recordings. Gigs like this one and some film stuff made me begin to seek out these opportunities, and now I make my living in this way.
I was lucky to serendipitously gain my introduction into the industry of music placement, and through some trial and error have learned to adapt to the changing market. Perhaps something I've learned will make some of your decisions in this milieu easier.
How has television changed, and how do these changes affect the soundtracks within the shows?
There are many more channels now, with many more shows and many more soundtracks. So, of course, there are many more opportunities for songwriters and bands to get their music placed on TV. At the same time, the failing music market has caused major-label artists and those formerly employed there to aggressively vie for TV-music spots. The widespread competition makes master and synch license fees lower. Also, a huge budget-saving idea has burst onto the scene: the reality show. Reality-show programming not only provides fewer jobs for actors but it also cuts from its payroll the score composer, replacing that music with individual cues. This process leaves the door gaping open to anyone hawking songs for cheap, including song pitchers, music librarians and independent artists.
How can I get my music in a show?
There's no easy-access listing for song pitchers, but if you can track them down, they have access to call sheets, which express which programs need what kind of music when. Song pitchers are looking for songs that meet the needs of the music supervisor. They make money by taking a cut from artists, sometimes from the master/synch license and/or from the royalties — usually from both. Be wary when someone wants money from you upfront.
You could buy the call sheets — at sites such as http://cuesheet.net, www.crimsonuk.com, http://notc.com and http://mandy.com — and send in the music yourself. But these call sheets can be $30 or more per month, with no guarantee you'll have anything that fits the calls. Also, the time it takes for music decision-makers to listen to someone out of the blue is too precious. Unless you have some relationship with the people you are sending it to, your package may end up in the trash before it's opened.
If you have a relationship with a music supervisor, you can place a song without financial strings. But creating relationships like these is one of the business world's greatest mysteries. (I met a music supervisor, who had seen my band, at a party.) Music supervisors have needs for the project they're doing right now. They are very busy, and if they don't know you, they probably won't take the time to tell you what they're looking for. You can find some of this info in Variety or The Hollywood Reporter, but it's not usually specific enough. If you have something the supervisor likes but can't use right now, it is rather unlikely he or she will have time to catalog you into a database.
Music librarians will more likely pay attention to unsolicited material. Music libraries make money from licensing fees and publishing, so you'll make a lot less money through them. Still, they may get you placed where you otherwise wouldn't be, and that's more money and exposure; plus, you'll always get your writer's royalty. Remember to register your music with your performance rights organization.
You can watch for independent call lists or join news groups that supply call information. Some of these, such as Craigslist, are free. Searching through the list is time consuming, and though some listings are legit and made by real professionals, many are just the runoff from pipe dreams. Some other call-list providers, such as The Film Music Network (www.filmmusicworld.com), charge nominal fees, have listings not on the free lists and have already done the wading for you.
What kind of package should I send?
The first thing to remember about sending in songs is doing it now. The music supervisor is looking to fill the spot, and if your music fits, he'll stop looking (likewise with someone else's work before your music reaches him). Send only what he's asked for — don't clutter his ears with extra tracks or his desk with bios and photos. A cover letter and credit list (if you have one) are good ideas, too.
Should I do it for free?
Before budgets got skinny and the competition fat, you could depend on a sizable check when you signed your placement contract. Not necessarily so anymore. It never hurts to ask for some or more money. But if the answer is “no,” remember the royalty checks will be coming soon. Speaking of royalties, a good way to interpret the legitimacy of your agreement is to be sure it asks for your performing rights affiliation. This is standard industry practice.
Why do they want to change my song's name?
Sometimes, song pitchers and music librarians want to use a song and take part or all of the publishing. This is a bad deal for the artist, especially if the song gets used elsewhere, when the song pitcher or librarian has nothing to do with subsequent placement. To make the offer more attractive and keep an accounting of who gets what, song pitchers have begun renaming the song they placed to own the publishing on that particular use only. Sounds fishy, but it actually allows for better and more diverse use of music, a system that works for all levels of the entertainment business stratum, including the consumer.
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