Adventures in Music Licensing May 2020

PDF (with pics and live links*):  Adventures in Music Licensing May 2020

(*Email links don't work in pdf or below.  

Ed Hartman's 

Adventures in Music Licensing & Scoring! 

May 2020 Vol. 8, No. 5 


*  Welcome new readers!  Please feel free to email questions about music licensing (and scoring).  I will answer you by email, and add your questions (anon.) in the next newsletter. (see below) 

* Well, now that we are all focused on creating music (right?), we can really get ahead with music in media!  I have been preaching for years that income from gigs is not enough for survival.  Little did I know that NO-ONE was going to be able to gig!  Welcome to the world of "passive income" (AKA "mailbox money!")  If you're not in the stock market or have a retirement account (good luck on that!), this may be your ONLY chance at making money in music right now.  For me, things really haven't changed too much.  I continue to teach music and music business in my studio, although everything is online (see below!) 

* I have a ton of information coming at me.  Please read as much as you can, and email questions!  I am doing a lot more one-on-one sessions by phone/skype/Zoom (Best)/FB Messenger.  Please let me know if you are interested.  (See below).   

* Please feel free to submit articles, questions, links, etc. to this newsletter. 

* I would very much appreciate any testimonials you have about the class or individual sessions. This feedback helps with promoting future classes. Please email me (see below). 

ONLINE Music Licensing Classes available:  (Please share) 
Classes taught on Zoom (free app) via private invite and password.  I can share tracks, videos, documents, chat, etc., all while I teach.  It's actually pretty cool and easy to use (download for phone, tablet, or desktop - best).   I'll send you an invite. I will email an invoice (Paypal) before the class starts.  Payment by credit card is possible, but you will need to call.  Classes may have minimums.  I would bill you until I have reached the minimum amount of students.  Note: If you are interested, and these times do not work, please let me know.   I may adjust the times if there is interest. 

NEW!  Follow-up Music Licensing Class Folks have been asking me for years about doing this!  
$50US/2 hrs. (ZOOM) 
Next ONLINE Date:  Saturday, June 13, 2020, 10am to Noon (PST) 
Email to register. 
Prerequisite:  You are not a newbie.  You have a PRO membership (BMI, ASCAP, etc) and have started music to libraries, TAXI, Songtradr, etc.  
Consider it a "booster shot".  Have you hit a wall?  Not sure who to pitch to?  Want to get more "briefs"?  Need contacts?  I will make suggestions and answer questions about track organization, genre, classification, editing techniques, writing to spec, briefs, music supervisors, problems with libraries, deals, contracts, etc.  You can email me a track, and we can talk about the mix, technically, and what appropriate markets will work for the track. (More tracks, if time permits) 

One-on-One session:   $70/hr; $120 2 hrs. (Email to schedule)  
(ZOOM-best, FB Messenger, Skype, Phone) 
Prerequisite: None. Beginners or experienced composers, songwriters & producers welcome. 
Email to register. 
This is an extremely targeted and efficient class that can focus on tracks, metadata, organization, marketing, PROs, copyright, libraries, royalties, etc.   You can send tracks to me for review, and get ideas on improving your licensing game. 

Making Money Licensing Your Music - the original class! 
* The next  LIVE licensing class, in Seattle will be FALL  2020.  ($65 for 3hrs, Saturday AM TBA.) 
I just did one, and it went great.  I will do more ONLINE versions of this class in the near future.  Please let me know if you are interested. 

I Got Nowhere to Go, In a Hurry Blues 


Anyone going stir crazy? Here's something that might help you dance in your space wondering what kind of bizarre Twilight Zone we are now in? I just released this classic blues-style original track, in a hurry! It took a global pandemic to get me to sing and play blues-harp again!  

 (Support this newsletter - Buy the damn track for a buck! Thanks!) 

NEW Radio Interview with Ed about "I Got Nowhere to Go, in a Hurry Blues" and film-scoring!  
(43 MIN IN) 

New Videos and Music: (Please share!) 
(Videos are a great way to promote your tracks, too) 
"Into the Known" (2020 Pandemic Film) 
This is my first "narrative" film (with a story).  It was done for the Roger Corman Pandemic Film Festival! The rules were it had to be shot with an LG Android Phone in and around your house.  It's in the "Twilight Zone" genre.  It was a tremendous education in cinematography, acting, editing, lighting (had to only use existing lights), sound design, scoring, etc.  It took about 8-10 hours, in total. 

"The Great Pandemic of 2020!" 
A vintage newsreel/PSA. WASH YOUR HANDS! 

"Let's All Go to the Kitchen" 
This video is for anyone that is watching movies and shows at home. It's a little original intermission feature I just created for a film festival, that you can play in-between features! It's a take-off on the classic drive-in shorts to get you to the refreshment stand! It's my gift for your home-theatre experience! Get out the popcorn! 

New track (actually the piece is from 1985!  This event is inspired me to revisit older tracks) 

From the Darkness Comes the Light - A song of hope.  

*  "As the Earth Turns" Update:  
(I am composer and producer for this film, and own the film-estate of the director.) 

New review! 
Movie review: "As the Earth Turns" 
By Rene A. Henry  
"I just watched a movie that was 80 years in the making. “As the Earth Turns” was thoroughly enjoyable and I highly recommend this film. I especially recommend it for devotees of silent movies, sci-fi fans, movie historians, and those who loved Mel Brooks’ “Silent Movie” in 1976 and “The Artist” that won five Oscars in 2012 including best picture." 

Complete review: 

I am still busy with the film, and looking for opportunities to show it (Retirement communities, Schools with film programs (HS, College), Film history clubs, NW History Groups, Theatres, Activity centers, etc.).  If you know anyone that might be interested helping make that happen, please let me know.  Thanks! 

"As the Earth Turns" will be on Turner Classic Movies in the Fall of 2020!  Other distribution is now in the works! 

You can get the original poster (& mugs, t-shirts, etc.) here: 
PS:  I am considering a limited run of the poster (signed, with all the laurels) friends and fans of the film.  If you are interested, please let me know. 
Upcoming confirmed screenings of "As the Earth Turns": 
Beach Cities Inspirational Film Festival, (Moved to April 25, 2021, San Clemente, CA (Time TBA).   "As the Earth Turns" won the "Crystal Wave Award" (Outstanding Recognition) in 2019. 
121 festivals!, 134 awards/nominations, including 34 for best score!  
Speculative Film Fest - Move to 2021!  TBA, DoubleTree by Hilton Hotel Seattle Airport (SWOC - Seattle Westercon Science Fiction and Fantasy Convention). 
(Click poster for full size) 
About the film: 

My soundtrack album is available! (Amazon, Itunes, etc.) 
Nominee:  Independent Music Awards! 

Recent adventures in licensing:  

* Adrev continues to pay!  $100s of dollars a quarter.  Not huge, but right now, HUGE!  This is due to a specific video with over 1M views.  (see recent issues about it).   

Recent pitches: 
I pitched a track to an exclusive library.  It was based on a specific call for music that was sent out.  I hedged my bets and made two tracks, and pitched one.  In the end, the library rejected it.  I have no idea what they really want.  No problem.  The track will find a home.  (Acoustic/classical, somewhat minimal for bio-tech). 
These are the two similar tracks:  ("First rule in government spending: why build one when you can have two at twice the price? Only, this one can be kept secret." - Name the movie) 

Honey, Your Royalties are in, dept.: 
* Money from heaven!  More $$ from Crucial Music.  I don't know the placement yet (the statement is due shortly).  I'll take it, though!  I will report next month.  That library pitches like crazy, and I can see who they are pitching too (very rare).  Don't you dare try to contact those clients, though!  That is their business, not yours. 

The World is Coming to an End Dept: 
Getty/Pump is closing it's one library, going with Epidemic library as a supplier.  In other words, no more work for their existing composers.  In the end, my royalties have gone way down, anyway.  Caution:  Epidemic is a library that bypasses PROs - no royalties (eek!).  I  have contacted BMI to change publishing back to me for any coded retitles they have.  (a number of tracks). I will report later... 

Recent Adventures and Thoughts about Scoring: 

I just finished a score for a cool film, by a filmmaker in Portland.  It came out very well. I would up using one track from my library, and scoring the rest.  The film is about school shootings.  I just created a "cue sheet" for the filmmaker (It needs to be sent to your PRO by the production company).  Always make sure they fill one out.  This is the only way you can get royalties in the future. More later... 

* I am on the fourth version of another local short film!  It's really a bunch of tracks, like in licensing.  I have been given different references, and come very close to some.  I'll try to have more info next month.  It has been challenging, but it did motivate me to really stretch my genres, sounds, instrumentation, form, etc.  I do have a lot of new tracks (non-exclusive use so I can use them elsewhere). I recommend non-exclusive agreements for scoring low budget films.  It gives you any publishing and allows you to use the tracks elsewhere: 

The difference between "Work for Hire" and "Licensing" in Scoring:  Historically, a production company (Warner Bros., etc.) hires a composer (WFH - Work for Hire) for $X - Usually, a lot $50K to $1M.  The composer might only compose the score or be totally in charge of getting the score together (getting players, recording, etc.) and deliver a finished score. The production company then owns the score.  This is important for iconic music (“Star Wars”) where they don’t want tracks in other productions.  Production companies might also have publishing (& record labels), so they could get soundtrack revenue and the publishing backend of royalties.  The composer still would get the writers back-end royalties from their PRO (BMI, ASCAP, etc.) 

Licensing:  Licensing tracks or even a score, can be done in a variety of ways.  It’s best for small budgets because it costs a lot less.  It’s usually non-exclusive.  Small production companies don’t have a music publishing entity.  They really don’t have any way to collect the publishing royalties (It could be pretty small).  What’s important is that non-exclusive means the tracks can be used elsewhere by the composer.  Frankly, music that is "synced to picture" rarely works outside the film.  It can if youedit it into other tracks, though.  You can also use it in your own projects, as well. 

Remember, when you work with a filmmaker directly, you can do anything you want(as long as they are OK with it)!  You can allow the filmmaker to use a track for film festival use, only, to forever.  You can allow the track to be used in trailers, clips, and other promotions.  My licensing agreements are typically perpetual so there is no end to the license.  Libraries might have a limit on usage, or length (term).   

Tales from the Tech-Side: 

I was just personally contacted by Songtradr to get an instrumental up for a vocal track. It's an older track from my Tascam digital portastudio days, so I can't get the mix anymore.  (It's possible, but would be a bit of a mess).  I did create some other alts already, although they are not a match to the original mix (different key, different recording). Songtradr was appreciative of the extra mixes.  It does sound like they are paying attention.  Good to see! 
LESSON:  Besides your full res master with all VOCAL tracks, always make "Alts": 
1)  An instrumental with a guitar, piano, etc playing the melody. 
2) A "bed (All vocals muted, everything else exactly the same, including the starting point and length, so editors can drop it in).   
3)  You might consider other "Stems", including various mixes with specific instrument combinations, and/or exporting all individual instruments.  (not a bad idea for a future remix, especially if the session is lost, or your future system can't run it.  You can usually export all tracks as audio files (including MIDI files).  I do this routinely for film-scoring. 

For INSTRUMENTAL tracks:  Other mixes (minus drums, minus guitars, etc.) 
Typical alt versions for a reality show: 
Track name full 
Track name (no drums) 
Track name (no winds or lead) 
Track name (bass and drums only) 
other versions.... 
Also these cut-downs, if available or appropriate (advertising) 
Track name 30 (29.5) 
Track name 60 (59.5) 
Track name 90 (89.5) 
Track name -stinger  (ENDING - Typically 5-10 seconds) 
"Edit points" help.  As you construct a cue (track) think about how an editor sees it.  (I use Soundstudio for MAC to look at my tracks.  Audacity is free). 
See how you can see the sections on this track.  It's easy for an editor to pull sections, and even see how long they are.  You can also check if your tracks need gain (normalize) 
Here's the track.  You can watch the sections go by on the pic. 

Articles from Readers! 
Please email me if you would like to submit something for this newsletter.  It can be about anything in music licensing and scoring.  I would love to hear about your personal adventures with music libraries, PROs, music supervisors, directors, etc.  You are already an authority on something.  Just dig in and share.  Thanks! 

Questions from the Audience... 
(Please email me. I will try to answer quickly. Any questions I use in future newsletters will always be anon.) 

Libraries don't always seem to offer suggestions for what they're looking for - I might be missing this, but I guess this might make sense for companies that are just offering sitting libraries to clients, rather than actively trying to meet specific solicited needs, like Taxi seems oriented towards. Am I missing something? If true, are there names for these different kinds of libraries? 

The “track du jour” can change.  Go with anything that you can do, for sure.  Libraries may put out regular info on what they are looking for, or not.  You can contact them (be very polite!) or look at their website to see what they highlight.   
How you figure out what a library or music supervisor needs is the million-dollar question.  When in doubt, ask.  You may be surprised by getting an answer.  I’m guessing they get tired of hearing everything, and really know what 20% make the money.  That’s the real question.  What are they selling?   

Any thoughts on the PDF that musiclibraryreport is selling? I'd still love more resources on the kind of genre expectations I might want to know about (like, say, is 90 sec the usual if nothing else is listed?) 

Regarding the E-Book by Art Munson, sure.  $9.95 absolutely.  Nothing to lose.  He is extremely knowledgeable about writing for libraries, etc.  The forums on the site can answer a LOT of questions.   
Free peak: (there are areas of the site that are free.  Watch in the summer and holidays for a 50% off.) 
newbie info: 
Regarding TAXI and what’s hot at the moment - that changes daily.  Keep an eye on it.  Get on Songtradr.  Between those two, you will have a number of possibilities.  Be careful about exclusives though!   
Anything can go on Songtradr.  It is also a library, so the opportunities are not the only game on it.  There’s also monetization, games, sync, etc. 

I used a vocalist from the site,  After they did the track and got paid, I sent them a WFH (Work for Hire) agreement.  They didn't want to sign it.  What should I do? 

I would try to get them to sign.  Tell them, you probably can't use the track if not.  (you can, because according to the website, you are covered.  It looks like there is WFH intended in the agreement.)   Mostly, your leverage is to make sure they get credit, and they will receive any performance royalties (through, etc.). Also, tell them you can't work with them in the future if they don't sign.  Most pros that do remote, are quite use to WFH agreements.  Unless the track becomes a hit, though most of this is extremely hypothetical.  Best advice is to get a WFH when you start with someone.   
12.1  Unless clearly stated otherwise in the Service description text, it is intended that at the time a work is delivered, the seller grants to the buyer all intellectual property rights, including but not limited to, copyrights for the work delivered from the seller as a work-for-hire under the U.S. Copyright Act. However, any assignment of copyright is dependent on an agreement between the buyer and seller in which the seller transfers all rights in and to the proceeds of the seller’s Service. It is up to you to know your rights. Again, a transfer of copyright from the seller to the buyer is dependent on the seller and buyer signing a contract. AirGigs is not liable for the buyer or seller’s lack of obtaining any such contracts. 
12.2  You can provide your own contracts (Work for Hire, or other). 


Free orchestra! (limited time) 

Free Focusright Balancer:  (limited time) 

Izotope Plugs at extreme discount! ($49 for $895 in products!) 

How You Create MUSIC for COMMERCIALS AND ADVERTISING! [with The Highfields] 

How To Pitch Your Music To Film & TV Music Supervisors and Sync Agencies 

Meta-tagging and the data you need to keep: 

Composer Contracts: 

Excl vs non: 

Good books on songwriting for TV and film by Dean Krippahaene: 
Demystifying the Genre 
Demystifying The Cue 

Syncsummit - FREE daily chats about music licensing, music supervisors, etc.! 

Syncsummit Music Supervisor Listening Sessions are now 50% off, and ONLINE! 

TAXI Daily Quarantine Happy-Hour! 


CDBaby DIY Convention ("Plague Permitting") 


NARIP EVENT IN ATLANTA: (Events are ONLINE until further notice!) 
Meet Music Supervisors in person! ($$) 


New track (actually the piece is from 1985!  This event is inspired me to revisit older tracks) 

From the Darkness Comes the Light - A song of hope. (please share) 

Ed's Website:  (Lesson info, etc.) - (Studio information, music, bio, links, calendar, etc.) FREE listening.  Lots of music for soundtracks, movies, TV, commercials, etc.  


My recordings on CD Baby: 

Drum and Percussion, "As the Earth Turns" T-Shirts and SWAG! 
$15 T-Shirts! (Through 5-17-20) 
(Note:  Threadless is reducing their commission, so a bigger percentage goes to the artists!) 
I've created a number of original drum, mallet and percussion designs.  Check em out!   

Ed Hartman Patreon Page:  (This is a FREE newsletter.  This is the closest thing I have to a subscription!) Is this newsletter worth at least $1 to you?  Honestly, this newsletter takes HOURS to create!  I'm not complaining, but it has been getting bigger.   If you can support this newsletter, that would be wonderful! 

Ed Hartman Consultation 

I am always available for one-on-one consultation, in person or via phone or Skype (call or email to set up) 

One hour: $70.00 

Two hours: $120.00 

Groups: contact for price 

I will be happy to critique your music, make recommendations for marketing, suggest libraries to put you music in, help figure out studio configurations (although I am not a heavy tech person. I can recommend people, though), and give you general career advice. If you are interested, please call or email.  

Joke/Quote of the month: (Very timely) 

"Music is not just the black dots on the white paper - it's what happens when those black dots on the white paper go into your heart, and come out again." 
Phil Smith 


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