Get Your Music in TV & Film: A Music Supervisor's Guide to Music Licensing | Trygge Toven | Skillshare

Get Your Music in TV & Film: A Music Supervisor's Guide to Music Licensing

Trygge Toven, Music Supervisor

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
6 Lessons (17m)
    • 1. Intro to Music Licensing Course

      0:19
    • 2. Licensing Overview

      3:15
    • 3. Getting Your Music Licensed

      4:47
    • 4. iTunes Metadata Lesson

      0:47
    • 5. Gaining Access to Licensing People

      4:33
    • 6. Creative

      3:28

About This Class

a94bc896

This class is perfect for musicians, artists, managers and anyone else looking for a basic understanding of how to get their music into TV & Film projects.

This class will help artists with the ever looming question of "How do I make money with my music?." With this step by step guide, artists will gain access to some of the industry's best kept secrets to licensing music.

In this class we will give an overview of music licensing, provide a step-by-step etiquette guide to getting your music licensed, present tips on gaining access to music supervisors and decision makers, and an overall understanding of the creative process behind the music in your favorite shows, commercials, films, and video games.

Students will go through the process of tailoring an original song to make it "sync-able" for TV, Film, Commercials & Video Games.

This class provides artists and songwriters with a unique opportunity to gain access to professional industry know-how from a Los Angeles based Music Supervisor.

Transcripts

1. Intro to Music Licensing Course: - Hello. - Welcome to the first session of our class. - We will be covering basic music licensing vocabulary as well as a step by step Look at the - process of music licensing. - I'm Sugar Tobin, - music supervisor based in Los Angeles, - and we'll get forward to the class. - Let's get started. 2. Licensing Overview: music licensing vocabulary Master. The master pertains to the recording of the song and who owns the recording. Publishing the publishing pertains the song itself, the melody and the lyrics. A music licence is usually split between the master and the publishing. This term is usually called MFN Most Favored Nation, a term borrowed from politics. I suppose it refers to the equal share of licensing fee between the record label and the publisher. Splits splits, the common term used to describe the ownership of the song and recording. And how would split between the writers and the producers and the artist. It's always a good thing to know your splits Early on. Metadata metadata is all the data that's included in an audio file. It's very important to have all your metadata information ready to go, such as the artist name, the album, the song name and, hopefully, some contact information. Evergreen or in perpetuity means eternity. It is the term used to denote that the song is licensed forever. This is very common these days. It used to be where you would get songs cleared for five years, but now, unless it's maybe a commercial or a trailer you usually gonna always have to license the song in perpetuity. It's just less hassle. Less paperwork down the road Work for hire work for hire is used by a lot of studios to own the song outright after. Basically, if they're gonna hire you to do a custom track that way they own the song and they could use it for whatever purposes they want. So you should get a decent pay up front for this. Ford of Project basically means that whoever is hiring you is the legal author of the song Clearance. It's an easy one, but just in case clearances, when you clear the rights to use the song from the rights owners, i e. Publishing the management, the label, the writer whoever is admitting the actual clearance of the song Sink Sink stands for Synchronization, writes synchronization rights are another term for publishing rights, which means you're getting the right to sink the song to picture when I license the song. The usual process that I go through his first have to figure out who represents a song licensing to I contact the Master and the publisher, and I wait for them to get back to me. With prices usually depending on whether it's in our budget or not, we negotiate that price on. Then once everyone's come to an agreement, then the approval process is done. 3. Getting Your Music Licensed: - and this year it woke over what you need to get your music licensed. - This includes the documentation and information you need before submitting your music. - Be a pro. - No, - your business. - This means having your splits ready. - Get a contract written with clear percentages of ownership rights. - This is very important. - Pre clearing is also very convenient. - As an artist, - you and the other owners of the song should decide what you want your song to be used for - and ahead of time. - Also know general pricing Range that you'd be okay with getting licensed that as well as - any political leanings or other causes that you're not okay with that. - You wouldn't want your song to be connected with and have all of your documentation done - and on hand. - The last thing you want is to lose out on a licensing opportunity because someone is - chasing down your cousin that just happened to be in the studio when you were writing. - Have instrumentals available Instrumentals are key for editing dialogue scenes and are - often requested by music supervisors and editors. - It helps. - It really helps have instrumentals for certain scenes. - When you have just that one word that's fighting with whatever is happening on the scene, - and unfortunately, - the picture always comes first. - So it really helps to get the instrumental, - you know, - from the mixture of the master or whenever you get that done or if you're doing it yourself - , - then just try toe output that track alone media sources, - CDs versus digital links or vinyl. - This is totally up to the music creative, - the music creatives, - personal preference, - whoever you're dealing with, - basically. - But it's always best to have everything available. - And don't be afraid to ask what a person prefers me. - Personally, - I prefer all digital these days. - It just I just got tired of going through CDs when I was just going to import them anyway. - But I don't think that everyone you know thinks like me that I still know plenty of other - music. - C risers And, - you know, - network studio people that, - uh, - just love having those CDs and, - you know, - the artwork still effects if whether they like listening to it or not. - So you know there's always gonna be other personal preferences, - so it never hurts to ask. - Metadata, - metadata, - metadata. - Metadata is information that is stored in the I d three tag of your MP three file. - This comes with all the audio files that you create, - and it's very important because if there is no information in there, - then it's on Lee up with the file name to let us know who to contact and who owns a song - and all the information that we need when we go about to license music. - This should include the artist name, - album, - name, - song title, - as well as a release date, - composer information. - Any other necessary information that you feel could help smooth the process of licensing - the music Very important to get this information correct. - I can't tell you how many times I've imported music and had no metadata and just lead it - because I know that it's gonna be a hassle down the road. - Also, - make sure to include contact information in either the grouping or the comments section. - This definitely is important because it always helps to when I pick out a song and I see - the information right there, - I know exactly who to contact, - and I could go about last sing that song. - If it's too much of a hassle, - then we're gonna move on to the next, - and that's just the high paced job that we have. - The other thing I would say is try not to put random information in the regular tags, - as in putting your phone number in song title or the company name in every single, - you know, - every single profile. - So that just gets a knowing And I can't tell you how many companies do that. - So try to keep it simple. - Make sure the information is there. - But don't bombard us with information, - either. - Thanks, - check out the next video if you're wondering how and where to input your I d three - information. 4. iTunes Metadata Lesson: - in order to make sure your metadata is correct. - First go to iTunes, - then select the song that you'd like to add it. - If you're on PC hit Control, - I If you're on Apple hit command, - I as you can see here, - all the information is nicely filled out. - I've put the publishing company or contact company in the grouping, - and all that contact information is under the comments. - This way, - the licensing person has all the information they need at their fingertips. 5. Gaining Access to Licensing People: - Once you have your music collection ready to go, - the next step is figuring out how to get it to the right people. - In this unit we will cover. - The various resource is that you have to get it to those people. - There are many ways to get your music to the right people. - I suggest partnering up with various companies to get your music placed is where I would - start. - Obviously, - one of the best solutions is to get a record deal or work with the record label for - licensing or work with your publisher. - The publishers and record labels have relationships with most of the licensing people, - and that's a great way, - You know, - we deal with them on a daily basis, - and we go to them when we're looking for something specific. - So it's a great way to get started. - Placement companies are very similar to a label or publisher, - but their sole purpose is to get your music licensed, - so they're a great partner in this endeavor. - Usually they take a percentage of the licensing fee up front and they don't mess with your - back end, - which is great. - So you get your licensing, - they get a percentage. - It's a great deal, - obviously, - going directly to music supervisors or creative types that ad agencies is a great way to do - it. - But that takes a lot of groundwork, - a lot of grunt work and a lot of cold calling, - and you might not get anywhere. - So that's why I suggest going through these companies first and foremost. - But good luck connecting with the music's Rather's directly that you know if you can get - that relationship going. - Obviously, - that's a great thing to have. - Now there are fee based placement companies. - I don't necessarily recommend these. - I don't think you should have to pay to get your music placed. - But you know, - I think they should pay you when they get your music place, - and they could take a percentage. - They shouldn't get paid up front. - But that's just my own personal opinion. - I much prefer the more open source placement companies. - Now these air free to submit your music, - too, - but they allow everyone in the regular placement companies are usually pretty selectively. - They're only work with music, - the only work with record labels or they are very selective on who they bring in the open - source placement companies, - as I like to call them, - are a good solution to get your foot in the door early on. - And you might just be discovered by someone that's looking for the right thing because they - usually have a much broader catalogue. - And when you know when we can't find something that we need, - that's a good resource to go to. - There are many other ways to connect to music licensing people, - and that would be by attending conferences, - viewing panels and trying to connect directly and networking. - You know, - getting in on the ground floor and working with people directly now on top of connecting - with licensing people. - Obviously, - there is another way to get to us, - and that would be the traditional route of touring. - Building up your fan base using, - you know, - various social media and YouTube to gain the usual fan base that you would build. - That will naturally get music licensing people interested as well, - because we're finding music the same way that your fans are, - and when you have more fans than you know, - we're more likely to like it as well. - So I think the traditional way to go about it is always a good way to keep on doing that as - well. - I wouldn't focus just on licensing personally and last, - but definitely not least. - Management management can connect you with all of these sources and help you build your fan - base is well, - if you get the right manager, - that's hopefully not your cousin. - Your cousin could be a good resource. - But if you have the right manager, - they'll have all the contacts already and they can connect you with people like me. - I hope that you now understand what it takes to get your music licensed. - Remember to try all angles, - make good music and don't give up. 6. Creative: the creative part of music's Your vision is my favorite by far. It's also the hardest. If someone works, it works. If it doesn't, it doesn't. So when I'm looking for music, I have a few key elements that I look for to know to me that it's gonna work for sick. Here. Four characteristics that work especially well for commercials and trailers build build is a big one. The song needs to start small and get bigger at the end. This is very important and trailers, especially because it needs to have that glorious ending. Energy Energy goes along with billed as well, trying to have that building energy works, that driving energy that will keep the spot going and get you excited. Anthemic. Anthemic is a term we like to use. I'm sure it's made up, which is why haven't in quotes, but it gets that you know that big summer feel anthem going that big arena feeling that really gets you going excited and makes you want to hear more positive. Nine times out of 10 spots need to be positive. This obviously doesn't work for the dark movies and the big action trailers, but marketers want people to be happy about the products that they're buying or the product they're selling or the TV show is that they want you to watch. So it's a good thing to remember. Positive usually works. In addition, Here's some other sinkerball qualities that you might think about vocal ease. I'm sure you figured punny of commercials with oohs and awes and them. Obviously, it makes sense because if there's not a lyrical concept that's fighting with the concept of the commercial or the spot or the scene, then it's just gonna work easier. So that's probably why they end up with oohs and aahs. Non lyrical vocals, generic chorus generic courses work really well. The more generic the chorus, the better chances that it will fit in with the scene or commercial simple lyrics. Keep it simple. Not only does it help your chances of getting a sink, but usually ends up being more catchy as well. Big ending. We all want that big ending. This works very well at the end of TV shows and film montages. Instrumental open. It's always nice to have an instrumental open on the song when I'm looking for title sequences. These are just guidelines. Any song can work for TV and film, and I definitely wouldn't want you to start making your songs based on these criteria. But I hope this helps you when you're picking out what to send to music supervisors. There's one thing to remember, though Music supervisor doesn't have the last say There's many cooks in the kitchen, the director and the producer, the executive producer of the Network Executives Film studio. There's a lot of people that have to say yes before your song can make it into that seat. So in conclusion, keep making great music and we'll keep listening. Thanks for taking this class.