Music Marketing [dot] com

Is Music Radio Dead?

This is going to sound a bit strange, but I have had a lot of music business executives come on my radio show and tell me that radio is dying...at least when it comes to music.

Found an interesting video clip from 1982, which talks about the subject...

Of course, the focus above is the switch from AM radio to FM.  However, I'd argue that we're seeing the exact same thing happen right now, with a switch from broadcast to other radio distribution methods, such as satellite, cable, and Internet.

Options are always a good thing when they're yours, and it's great to have various distribution methods for a medium such as radio.  The problem is that there are only so many people who actually like radio and, when you have thousands of choices to listen to, the audience is split thousands of ways.  That wasn't the case when broadcast radio was all we had, and our choices were limited to whatever was on an AM or FM dial.

Check out the video at 3:40, where WABC's Ron Lundy says, "I don't think there will ever be another radio station that will ever come close to being as big as we were."

True.  And the issue isn't just the new options on broadcast radio.  Those 6,000,000 listeners are split between online stations, satellite, mp3 players, and who knows what else...  

That's not saying that broadcast radio is totally gone.  It's the only format that is in the hands of almost everybody.  Even the poorest of people in this country can afford a $10 radio.  And even somebody who is afraid of new technology can figure out how to turn it on.  You plug it in, you get music...or talk, or sports, or whatever.  There is something to be said for the simplicity.

Because of how little it costs to receive and its ease of use, until something can compete on these issues, broadcast radio is here to stay and has the largest audience of any radio delivery system right now.

Here's the problem...

As was mentioned in the video, many broadcast stations are going to a talk format, or sports, or "syndicated formats" which broadcast the same "station" in multiple markets and don't play any new music.  And most of the stations which do play music have a small playlist, often times based on programming consultants who are concerned with how they can increase ad revenue more than being a benefit to local community or upcoming musicians.

And even if you can get on a broadcast station, the number of listeners are down.  If it worth all the trouble you have to go through?

The good news...

You have more options for your music than ever.  Radio isn't the only way to get the word out about what you're doing.  In fact, there are options available to you, the independent musician, songwriter, or band, that actually give you more publicity (and royalties) than broadcast radio.

Yes, I'm talking about licensing your music to:

• Film
• Television Shows
• Video Games

While the audience for broadcast radio has been shrinking, the audience for these things has been growing.  In fact, by 2011, the video game industry will be larger than the music industry.

I can help you to get your music licensed in film, television, and video games.  In fact, I can help you make a lot of money doing it.

I just released a video course which explains the opportunity you have right now and how you can cash in big time.  If you want it, input your name and primary email address below and I'll send it to you free, as my thanks for reading this blog.

Also, please take a moment to subscribe to my feed. It's free and this will make sure you're instantly updated when I post a new video or other information on licensing music here.

Sign up for my free course on music licensing below.  Not only will you get my free videos that explain how you can make big money licensing your music, you'll also get bonus information, such as the direct contact information for music supervisors that I can't post here. 

Input your name and primary email address below.  That way you'll be sure to stay on top of everything.

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"Behind the Scenes of a $100,000+ Music Publishing Business..."

I just released a brand new (and free) video course, which takes you "behind the scenes" of my music publishing business and shows you exactly how you can make $100,000/year (or more) licensing your music to films, television shows, video games, and commercials.

Here's the first video, which has a tour of my office...



Sounds too good to be true, right?

Well, it is true! And I'm giving you this video course at no charge to prove it.

So fill in your name and primary email address... Over the next few days, I'll send you all the information you need to get your music all over film, television shows, video games, and major label records.

Get INSTANT ACCESS to the 2nd Free Video...

YES, David! I want to make more money with my music NOW! Please send me your free video course on how to get my music placed in films, television shows, video games, and commercials.

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Music Licensing and Barack Obama?

What does Barack Obama know about video games that you don't?

Judging by the pictures below, he knows they're a great way to reach certain types of people...like the people who would like to see Barack Obama as President!

These images are from the Xbox 360 racing game Burnout Paradise. This is official advertising placed by the senator’s campaign team.

So what does this have to do with you and your music?  You can get the same type of access to the people playing this game (and others like it) without paying a dime.  In fact, the companies which develop these games will actually pay you.

How?  Music licensing!

Video games are a huge business right now.  In fact, by 2011, the business of video games will be twice as large as the business of music.  And that's great news for you...

Because of the huge boom in the video game business, developers are going crazy coming up with new titles.  And with those new titles comes an increased need for music to be used in the background.

Why do much music?  Let me give you one example...

Have you played one of the new generation car games?  They're highly realistic, down to the last details...like the billboard on the side of the road or the radios in the cars themselves.

And just like you'll see this on the side of the road...

 

...you'll have a car radio where you can pick from any number of stations, each with its own style of music, just like you'd get on your real car radio.

Because of this authenticity, there is a huge need for music.  And the "car radio" example is just one of many.  Video game developers are using music all over.

As I mentioned earlier, the video game industry is growing like crazy and making record profits.  They need music and are willing to pay for it, so this means a good opportunity for you to earn money.

But when you're in video games, your music is exposed to tens of thousands of people, even hundreds of thousands of people, which can mean...

• more CD and download sales
• more concert ticket sales
• more publicity for your music
• more credibility for your music
• more fans

And that's just the beginning...

So how does it happen?  Over the next couple of weeks, I'm going to help you put all the pieces together.  One of the ways I'm going to do that is via a free teleconference where you can call me directly via the phone.

I only have a limited number of phone lines, so "seats" to this event are limited.  If you want to be sure to get in, your best bet is to get on my "early notification" list.  You can sign up below.  I also recommend you subscribe to my feed.  It's free and you'll be instantly updated on new blog posts on the subject.

To stay updated and have "early notification" about my free teleconference on music licensing...

1. Subscribe to my feed. It's free and this will make sure you're instantly updated when I post a new video or other information on licensing music.

2. Sign up for email updates.  Not only will you get "early notification" to the teleseminar on music licensing, you'll also get bonus information, such as the direct contact information for music supervisors that I can't post here. 

Input your name and primary email address below.  That way you'll be sure to stay on top of everything.

NOTE: You can unsubscribe from this list at any time, with a simple click. :)

   

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Your Music in Video Games - How Much Money?

Have gotten several emails from people asking me exactly how much money there is in licensing music to video games.

If you're like these guys, we're talking MILLIONS of dollars...

You can read more about their licensing deal here.

But you're not like them...

Still, how much money do you need?  While you might not get millions of dollars, it's very common for indie acts to get five-figure deals from television, film, and video game licensing.

Even on the low end, $10,000, you can make a pretty good living.  What would you do with $10,000 in your pocket right now?  That's a pretty good pay day.

So even if you're not like Aerosmith, know that there is hope and you can do this.  All you need is a good song that adds to the project.

I'm going to help you put together all the pieces and make it happen.  Subscribe to my feed and stay tuned...

Music in Video Games - What If...

As you know, licensing your music to a video game can mean big money.  It can also be a huge ego stoke, and new fans, and album sales, and sold-out concerts. 

What would happen if you had to play your own song in Rock Band?  Find out below...

How do you get your music in video games? The same way you get it in film and television.

Next week, I'll be hosting a free teleseminar which will explain exactly how it works. To make sure you get a "seat" on the call, sign up for the list below. Also, subscribe to my feed. It's free and this will make sure you're instantly updated when I post a new video or other information on licensing music.

Attend My Free Teleseminar on Music Licensing!  And as bonus, get direct contact information for music supervisors that I can't post here. 

Input your name and primary email address below. 

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Want Your Music in Film and Television Shows? - Listen to This!

Just did an episode of Music Business Radio with music supervisor Anastasia Brown.  She's credited with discovering Keith Urban and has worked with artists of all genres including Sting, Peter Frampton, John Berry, and Junior Brown.

If you're looking to get involved in music licensing, you need to listen to this...especially the last 10 minutes.

Get the podcast (and get future shows) or listen below...

Film/TV Music - Q&A Part 3

This is my third post in a series on how to make money licensing your music to film/TV and elsewhere.  The first post is here and second post is here.  These posts cover several foundational topics, which you might find helpful to building your music licensing business.

As this series continues, I'll be getting deeper and deeper into this, so it will be important for you to keep up.  To do so, it will be helpful for you to do two things:

1. Subscribe to my feed. It's free and this will make sure you're instantly updated when I post a new video or other information on licensing music.

2. Sign up for email updates.  Not everything, such as the direct contact information I'm going to give you, will be posted here. 

Input your name and primary email address below.  That way you'll be sure to stay on top of everything I release.

NOTE: You can unsubscribe from this list at any time, with a simple click. :)

   

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Here's the third round of questions I received from people.  I've gotten hundreds of emails, many with several questions, so expect more posts similar to this one.

1. For music licensing, we have a studio where we could make music, but we don't know how to get business partners to sell them our music? 

Good question, but I'm not going to answer it here. :)

However, I do want to make note of the wording in your question...  You used the word "sell."  I see this happen all the time.

You're not "selling" anything here, although there is a transaction which involves money.  What you're doing is actually "licensing."  That means, you're letting somebody use your stuff, but retain the copyright on it.

"Selling" isn't a bad thing.  There are plenty of "work-for-hire" jobs, where you do sell what you create for a flat fee, without keeping ownership or collecting future royalties.  This is fine, totally legal, and ethical.  However, it's not always in your best interest.  There is often more money on the backend, where you get royalties when used, rather than up front money paid as a flat fee.

As for your question, I'll be going into detail about that as this series continues.  Please make sure you're on the email list and the feed. 

 2. How does one get music into the hands of the music supervisors?  Are there others that I should be targeting as well... director, producers, etc?  

As I mentioned in the question above, I'm going to give you specifics on how to get your music into the hands of music supervisors and other people who are looking for it as we continue with this series, so stay tuned...

As far as who you should be targeting, directors and producers are fine.  You should use all your contacts to get the music where it needs to go.  There are plenty of small projects, which could be in the millions, where directors and producers will have something to do with music selection.  There are plenty of large projects as well...

Music makes a scene happen.  Music sets the mood.  Music helps to produce the wanted outcome that directors and producers are looking for.  Because of this, they're involved in the process of music selection.

Don't be afraid to approach people.  If you approach somebody with your music and he's not the guy handling it, he can point you to the right person.

3. What I'm really looking for is for commercial work.  How does one get on the email list of the production companies that email out the video and then has their list of composers respond?  I've found it nearly impossible it seems.

It's true that production companies get the word out to composers, probably by email, about new projects they're working on, but from what I've seen, it's not done via a "one-to-many" list.  If email is used, it's more or less something personal, much like you'd email a friend that plays guitar about coming to sit in with your band.

With that said, you can build relationships with production companies the same way you'd build any music business relationship.  Solve a person's need and they're contact you to solve it again, the next time it comes up.

So how to you meet these people in the first place?  See Question #2 above.

4. Assuming the music is solid, what other techniques can I employ to stand out from the pack of schmucks that make the people receiving all the envelopes skeptical of unsolicited material?  In short, how do I get the person at the desk to take me more seriously when I'm buried under piles of song-hobbyists like my Uncle Monte?

This is a great question and one we'll be going over in depth on the upcoming (and free) music licensing teleconference, which is part of this series.  To make sure you're notified, sign up for the mailing list above and get on the feed. 

The quick answer...  If you're submitting to a listing or "casting call" where you'll be competing against several other people, if you want to increase response, start with basic "direct mail" techniques such as:

1. Use a colored envelope.  Every band and its brother is using a USPS "Priority" mailer, a FedEx package, or a plain manila envelope.  Do something different.

2. Write the address by hand.  Refrain from using something such as those "red, white, and blue" address stickers which every office in the world seems to have plenty of.

3. Use a "live" stamp.  This means you find out what the total postage is, and instead of using something you print via Pitney-Bowes or Stamps.com, you put on a bunch of $.42 stamps, $.03 stamps, or whatever combination you need to pay for the postage.

Using different kinds of stamps works, because it makes your package more interesting.  And it works really well when you have something different from the "standard" stamp we see every day on a First Class letter.  No flags, no eagles, etc. 

I've done a ton of testing on this.  "Flower" stamps work better than "American" stamps, which have something like a flag or eagle on them.  Why?  My theory is that "flower" stamps are more friendly, like something you'd get from your mother, rather than something that you'd get from a business.

We'll talk in more detail about this stuff on the free teleconference.  To make sure you're notified, sign up for the mailing list above and get on the feed.

5. What is the best way to present the material and connect with those music supervisors?  e.g. a personal phone call asking what the best way to submit music/info, then a follow-up letter with music (CD or otherwise), then a series of follow-up calls over a time period to see if they are interested?

If you can get somebody on the phone, or via email, by all means ask them how they want to receive something and then give it to them in that way.  Some people want mp3 files, some people want CDs, etc. 

It's for this reason that you have to be ready to go with an offline format, such as a CD, and also online options, such as an mp3 or link to a page which streams your music.  And if they ask for something you don't have, such as .aiff or .wav, make it happen.

The important thing here is that you don't try to get them to "work" to receive your music.  They don't have to do that...and they won't do that.

For more information on this subject, please read my post called "No, You Can't Email Me a Song..."

More coming, so make sure you subscribe to the feed to keep in top of things.  Also, if you want the real life examples and direct contact information of where you can send your music, be sure you sign up for the list below.  I can't post that kind of information on a public website. :)

Input your name and primary email address below.  That way you'll be sure to stay on top of everything I release.

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You Could Sell 100,000 Records, but You'll Make More Money Doing This...

Did a great interview with a duo called Computer vs. Banjo yesterday.  Before coming together to form this group, these guys had great success in a couple of other bands.  Both were signed to record deals and were on the road about 200 dates per year.

One was on a major label and did opening slots on arena tours, performing with established acts like Dave Matthews Band and Counting Crows.  His group sold over 100,000 units.

The other was signed to a large independent label, with major distribution, and was making roughly $350,000/year as a touring act.

So why did they decide NOT to tour, or even play live, when forming their new act?  And why did they decide not to pursue a record deal?

Because you can make more money licensing music to film and television than you can touring or selling records.

You've probably never heard of Computers vs. Banjo, but if you've seen any of the following shows, you've probably heard their music...

• Weeds
• Sex with Mom and Dad (currently on MTV with Dr. Drew Pinsky)
• Real World
• The Hills
• Keeping Up with the Kardashians
• Living with Lohan
• Parental Control

Their music has been used for advertising, too.  Advertising clients include:

• Kenneth Cole
• Nissan
• AAA

Here are some tips from these guys, which you can use to start your own music licensing business...

1. Be quick.  Television production schedules can change almost instantly...and change again just as quick.  The quicker you are at producing new music, the more likely you'll be able to get the contract.

These guys told me a great story of getting a call from a production company working on a show for MTV.  They were on a tight deadline and needed the song in four hours.  Even though one of the guys was in California and the other in Nashville, they were able to write, record, and submit the material within that time, thanks to the power of the Internet.

You may not be able to compete with some of the "big boys" when it comes to studio gear or even musical talent, but something that will take you a long way is the ability to create something quickly.  Get this down and you'll be ahead of 90% of your competition.

2. Have songs/content you can repurpose.  Record everything because you never know when that riff or chorus you never turned into a full song will be the "spark" that helps fulfill exactly what the music supervisor or production company is looking for.

Even better, perhaps you have a full song, already in the can, which will work.  You never know.

Bottom line-- the more stuff you have written and recorded, the better off you'll be.  Create a "swipe file" of material you can use to help you develop exactly what is needed.

3. Learn to talk to non-musicians.  If you want to get into the big money with music licensing, you'll want get involved with advertising.  Unfortunately, advertising executives don't always know how to explain exactly what it is that they're looking for.

It's not uncommon to get a request for music that is "happy" or "intense."  What does this stuff mean?

And what do these words mean?

• suspense building
• funky
• serious
• tension building
• sunshine
• sexual

Obviously, this stuff means different things to different people, but learn to communicate with the person you're dealing with and you'll have an advantage over your competition.  How do you do it?  Listen, play/send an example of what you think the request if for, and listen to the reaction.

4. Be flexible.  A song which is exactly what the music supervisor or advertising agency wants can easily make you five or six figures.  However, a song that is "almost there" will probably make you nothing.

"Almost there" doesn't sell.  "Almost there" doesn't make good scenes.

If you've got something that is close, be willing to change it up.  Change up the lyrics, the instrumentation, the tempo, or whatever you can to make it right.

5. Do a little bit extra.  This may sound obvious to some, but it's important enough that it's worth mentioning...  If you really want to play the big game, you need to be willing to do a bit more than more.  Not a lot, although you can...just enough to separate yourself from the next guy in line.

This joke explains it all...

Two campers are walking through the forest when they suddenly encounter a grizzly bear.

The bear rears up on his hind legs and lets out a terrifying roar.

Both campers are frozen in their tracks.

The first camper whispers, "I'm sure glad I wore my running shoes today."

"It doesn't matter what kind of shoes you're wearing, you're not gonna outrun that bear," replies the second.

"I don't have to outrun the bear, I just have to outrun YOU," he answers.

Just a bit extra can mean the difference between "life and death" in this business.  This means following the advise above...being quicker, being more flexible, being a better communicator, etc.

The good news is that this stuff is easy and anybody can do it, even if you don't have a ton of money to buy the best instruments or recording equipment.

That's it for today.  More music licensing tips are coming soon though.  To make sure you get everything, I need you to do two things:

1. Subscribe to my feed. It's free and this will make sure you're instantly updated when I post a new video or other information on licensing music here.

2. Sign up for email updates.  Not everything, such as the direct contact information of people looking for music, which I'm going to give you, will be posted here. 

Input your name and primary email address below.  That way you'll be sure to stay on top of everything I release.

NOTE: You can unsubscribe from this list at any time, with a simple click. :)

   

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If you've found this information helpful, please click the button below. :)

Film/TV Music - Q&A Part 2

This is my second post in a series on how to make money licensing your music to film/TV and elsewhere.  The first post is here and covers several foundational topics, which you might find helpful to building your music licensing business.

As I mentioned yesterday, I'll be getting deeper and deeper into this as we go along, so it will be important for you to keep up.  To do so, I need you to do two things:

1. Subscribe to my feed. It's free and this will make sure you're instantly updated when I post a new video or other information on licensing music.

2. Sign up for email updates.  Not everything, such as the direct contact information I'm going to give you, will be posted here. 

Input your name and primary email address below.  That way you'll be sure to stay on top of everything I release.

NOTE: You can unsubscribe from this list at any time, with a simple click. :)

   

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Before we get started, note that the teleconference I mentioned yesterday will likely be held next week.  This is a free event, which will allow me a more personal way to get you all the information you need to run a successful music licensing business.  Space will be limited, so get on the list above, because you'll get priority slots.

For now, here's the second round of questions I received from people.  I've gotten hundreds of emails, many with several questions, so expect more posts similar to this one.

On to the questions...

1. Which music license pays more?  Music in films, television, or video games? 

It depends.  There is definitely a general hierarchy when it comes to television though.  Broadcast television, which in the US would be networks like ABC, NBC, and CBS, pays best, because these networks reach the most people.  Premium channels on cable TV pay more than "basic cable."

Don't worry about this stuff though.  Place your music where it fits.  Never leave money on the table.
 

 2. I just released my first album.  How do I get started in music licensing? 

You're in good shape, especially if you've written the songs.  With that said though, there is definitely a market for "cover" songs, as they're usually less expensive than originals.  For example, your version of "Satisfaction" by the Rolling Stones is probably available for less money than the original.

Of course, how much you want to get for your music is up to you...just make sure you don't overprice yourself.  You don't have a monopoly on this business. :)

See my first post on the subject as it has some information on how you can get connected with people.

3. My most pressing interest right now is making a start with marketing my music - and getting some paid gigs, etc.  Can music licensing help me? 

Licensing your music to a film or television show can be a great way to get the word out about your music.  If you can get on a show like popular show such Grey's Anatomy, which is quite possible for independent artists, your music will be played for millions of people.

Even if you choose to have your music in a lesser known show, your music will still reach people in a big, big way.  With radio playlists getting smaller and smaller, people are looking to television and film to find out about new music.

Of course, perhaps the best thing about being part of a film or television show is that you can put this in your marketing.

How many times have you been in a store and seen a product like this on display?

If it's been on television, it must be great, right?

I don't know...  But I do know that most people have that assumption.  And people will assume the same thing about your music when you're trying to get a gig, radio airplay, or a review, and you send along a big list of films and television shows which your music has been involved with.

And as you well know, big media like television and film is the absolute best way to reach a ton of people quickly.  Take Sarah Palin for instance... Nobody knew who she was one minute and now everybody knows who she is.

This is the kind of thing that can happen to you when you get your music in film. 

Imagine your music in a significant, emotional scene in Grey's Anatomy...

What's going to happen immediately after the episode is over?  What's going to happen when people are talking about the show around the water cooler the next day?

People will be searching for, buying, and talking about your music! 

4. How do i make money on music licensing? 

At it's most basic level, you'll make money from:

1. A Licensing Fee - You'll get a check directly from the production company as payment for use of your recording.

2. Performance Royalties - When your song is played, whether it be on television or in a theater, you'll collect money from your performing rights organization (BMI, ASCAP, SESAC, SOCAN, etc.).

See my first post on the subject for more details on how you'll make money with music licensing.

5. I'm from Montréal - Canada, and I would like to reach the international market.  Is it possible for me to get access to the USA market? 

Definitely.  In fact, it's one of the best ways to reach an international market, since you don't have to worry about spending time, money, or other resources doing things like touring or traditional media.  And you won't have to worry about the language barrier either!

Speaking from personal experience, a big chunk of the opportunities via my music licensing newsletter have been international.  I've found that European and Asian countries are especially fond of US and Canadian music.

So this is a simple and easy way to reach an area of the world which you might not be able to otherwise.  You simply license your music to the film or television production, then sit back and collect the royalties.  This is all taken care of via your local performing rights organization, such as BMI, ASCAP, SESAC, or SOCAN.

As I mentioned in my first post on the subject, the newsletter mentioned above is no longer taking new subscribers.  Apologies.  Will work on getting something out to the list (signup below) though, so you can see an example of the kind of opportunity I am talking about.

More coming, so make sure you subscribe to the feed to keep in top of things.  Also, if you want the real life examples and direct contact information of where you can send your music, be sure you sign up for the list below.  I can't post that kind of information on a public website. :)

Input your name and primary email address below.  That way you'll be sure to stay on top of everything I release.

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Film/TV Music - Q&A Part 1

Have been getting hundreds of emails with questions about how to make money licensing your music to film/TV and elsewhere.  This post is the first of several which will answer the questions I have received.

I'll be getting deeper and deeper into this as we go along, so it will be important for you to keep up.  To do so, I need you to do two things:

1. Subscribe to my feed. It's free and this will make sure you're instantly updated when I post a new video or other information on licensing music.

2. Sign up for email updates.  Not everything will be posted here. 

Why?  First of all, I want to keep this information exclusive to the people who really want it. 

And secondly, I've got some contact info for you, which will put you directly in touch with people who are looking for new music.  Can't post that on a public website. :)

Input your name and primary email address below.  That way you'll be sure to stay on top of everything I release.

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One more thing...  I'm in the process of setting up a teleconference, so we can talk by phone and be able to go over this stuff in a more interactive format.  Those on the list will be notified as soon as we have details on the time/date this will happen.

For now, here's the first round of questions I received from people.  As I mentioned, I've gotten hundreds of emails, many with several questions.  If you don't see your question here, know that I'll get to in in a future post or on the teleconference I mentioned above.

On to the questions...

1. Is music licensing a company/business of itself or is it just part of music publishing?

You can take music licensing as far as you want.  My suggestion is to start getting placement for the stuff you own copyright for, such as song you've written.  Start small and expand as you go.  A "one man show" can make plenty.

If it goes well for you, and it should, considering the hot market we've got right now, you can look to expanding it and bringing in other people to write or record.

2. What are the necessary tools/people you need to gather to start your own music licensing company? 

This is a great question and something we'll go over more in depth when we get together on the phone.  To make sure you get details on when to call in, get on the mailing list above. 

For now, I'm going to give you an answer in writing, which I hope will explain things. 

This subject gets confusing for some people, to I'm going to try and break it down in the most simple way possible.  If you have any questions, post a comment here or email me.  If you don't have my email address, you can get it by signing up for the list above.

What most people consider a "song" is actually two separate things... 

One, there is the "composition" part, which simply means a song written out, with no performance of it, as in "words and music" on paper.

Then, you have a "recording" of the song, which is the song brought to life-- a performance, a moment in time, captured on some type of recording device...a tape, a hard drive, or whatever people record with these days.

It helps if you own the "composition" and you'll certainly make the most money that way, because you'll be able to get royalties when the song is broadcast on television or in a movie theater.

But maybe you just have a "performance" of a song on tape, such as a recording of your band doing a song you didn't write, maybe a Rolling Stones cover.  You can make money here too, in the way of "licensing fees."  Television and movie producers will pay you to use your recording.  However, if you only own the recording, but not the "composition" copyright, you won't get money when the song if played. 

Obviously, because you get money upfront for a song you own the recording of, and because you get money based on performances of that song, when you own the "composition," it's best to own both aspects of what you want to license.

Other stuff which comes in handy...

Because of what I just said above, it's great if you have a way to record music.  This can be a home studio or access to a studio which you rent.  Either one works.

And obviously, you'll need to own compositions.  If you're already writing your own material, you're in good shape on this...and you're probably in good shape on having recordings of these compositions as well.

So to make a long answer short, if you're a musician and write your own material, you probably have everything you need to do this.

3. After you've just opened your own music licensing company, how do you advertise yourself to potential clients? 

Like anything in the music industry, a music licensing business is one built on relationships.  If you've just started building a catalog of material to license, the easiest way to break in is to find what exactly what people are looking for and then deliver that to them on a silver platter.

In other words, if somebody is looking for "somebody who sounds like Britney Spears,"  you give them somebody who sounds like Britney Spears-- not Jessica Simpson, Chaka Kahn, or Dolly Parton.  They want "Britney Spears" for a reason...don't try to convince them of something else.

Don't sound like Britney?  Don't worry.  There are a ton of opportunities for all types of music, regardless of your genre or singing style.

So how do you find these opportunities?  The good news for you is that there are services which connect you directly with people who are looking for new music.  I've run a music licensing newsletter for years, which is one of the ways I got so connected in this business.

At this time, we are not taking new subscribers to our licensing newsletter.  However, if you sign up for the list above, I'll throw you a few bones with some direct contact information you can use to get your music into the hands of people who can do something with it. :)

4. What is the day-to-day work/tasks being done in a music licensing company? 

The more songs and recordings of those songs which you own, the better position you'll be in to deliver the perfect package to film and television music supervisors and others who are looking for music for film and television projects, such as producers, directors, and writers.

If I had to give one piece of advice to somebody looking to get involved in music licensing, it would be to build your catalog.  Like the lottery, the more "tickets" you have, the better your chance of winning.

Of course, a good song is more than a lottery ticket, in that you're not building a business based on luck.  And this is why you want so many songs and recordings of them-- when you can deliver exactly what is needed for the scene, you'll see results in licensing fees and performance royalties.

In addition to writing and recording great songs, you'll need to spend time "marketing" your songs to people who are in the market for them.  We'll spend more time on how to do this shortly...

5. As a music licensing company, who do you deal with in business: record label, artist, any other type of company? 

The short answer to this question is, "Anybody who makes the decision to use songs."

These people can be directors of advertising, producers, music supervisors, managers, and if you're looking to get a song cut, artists themselves.  This is because "music licensing" can mean several things.

For film and television licensing, you'll most likely deal with a music supervisor.  But on smaller level productions, you can deal with anybody, since many don't have a person dedicated to just music.

If you're interested in advertising, and want to start small and build, a good way to get something going is to hit the owners of small businesses who need a song or jingle for use in their ads.

I did an Music Business Radio interview with Brad Colerick of DeepMix in Los Angeles recently, and he had some great stories of how he got involved with advertising.  I hope you'll listen closely, because what he's done is definitely something you can model.

Here's the interview...

I'll post more about music licensing and how you can make money with it tomorrow.  Until then, if you have any questions about this, I want to know.  Input your name and primary email address below and I'll send you my contact info.

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See you tomorrow!