In my last post, I started part 7 of a 7-part series of posts dealing with music licensing. We were talking about research and pitching. If you missed it, be sure to check it out here.
And if you’re brand new to music licensing (and/or this blog) I recommend that you start from the beginning of these posts below and work your way through them. That way you’ll get a good baseline understanding of what’s involved. There’s a lot!
My last several posts have covered:
1. Basic Terms and Definitions
2. Publishing: Types of Deals, Part A
3. Publishing: Types of Deals, Part B
5. Administration, Part A
6. Administration, Part B
7. Royalties, Part A
8. Royalties, Part B
9. Royalties, Part C
10. Creative, Part A
11. Research & Pitching, Part A
What’s the best way to get in contact with music supervisors?
Start to get to know them by emailing or just posting on their social feeds. You can also attend conferences and panels where they might be speaking and introduce yourself.
Always ask for permission to submit music to them. Don’t e-mail blindly.
The best approach when meeting them for the first time might be to strike up a conversation about things other than your music. Get to know THEM and push your music on them at your own peril. And remember, you can find out a lot about a person and their interests by reading their social feeds..
How will I know if they listened to my music?
OK, here’s the tough part: you won’t . They’ll contact you when and if they’re interested. It’s not a knock to your work necessarily. It could just mean that they can’t find a place for it at the moment.
I’m not saying that you shouldn’t follow-up with them. All I can say is that if they had to field calls from everyone who has sent them music then they’d never get their job done. So tread lightly. You don’t want to alienate them and be “that guy/girl” .
Questions I haven’t covered? Leave a comment below.
Want more tips on songwriting for film and t.v.? Purchase my e-book, How To Explode Your Income By Licensing Your Songs here.