Ed Hartman's Adventures in Music Licensing August 2019
Adventures in Music Licensing
August 2019 Vol. 7, No. 8
* 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)
* Happy August!Summer is here! 80s and sunny to October! Best time of the year in the great Pacific NW.
* The next licensing class is Sat, Oct 26, 2019. (https://www.campusce.net/nscc/Course/Course.aspx?c=2117) Please share this with any musicians, bands, songwriters or composers you know in the Pacific Northwest. If you live outside of the Pacific NW, I will be taking my class on the road. Please email me, if you have any connections with music schools in your area. I can offer a combination morning Licensing Workshop, and afternoon Percussion Clinic! Can't make the class? I have been doing a lot of "one-on-one" sessions with folks. It's a great way to answer nagging questions about licensing, and help organize your process for pitching, etc. We can take a listen and analyze at your music for licensing potential. I generally do sessions in my studio in Edmonds, WA. A band can come together to share the cost. Otherwise, I can skype, phone, or FB Video with you.Email for info.
* I would very much appreciate any testimonialsyou have about the class or individual sessions. This feedback helps with promoting future classes. Please email me (see below).
* UPDATE “As the Earth Turns”: I just got back from Las Vegas (109 degrees!), where I attended theAOF Megafest,Hollywood DreamsandLas Vegas Screenwriting and Film Festival! We won 3 more awards (Two for best Sci-Fi and one for Best score!) I met Michael Learned (Olivia Walton, and Daniel Baldwin, of the Baldwin family. The screening went well, and the awards gala was 6 hours long at the Rio! It was Vegas in everyway!
Songtradr forwards: I'm afraid the last round of finals didn't get picked (There were quite a few). I will give ST credit for getting my tracks into the ears of music supervisors. That's as much as I can ever expect.
*TAXI: Actually, I did place 2 tracks with a library I already was with, thru a TAXI listing (a number of friends had the same succcess - see Q&A below). We shall see if anything comes from the tracks. I did go after the 40K ad listing! Didn't get forwarded, damn! Personally, I am pretty much ONLY going after non-exclusive listings. With such a long wait from clients, I don't want to tie up the track for months. I recommend that you only give exclusives a limited amount of time to review, and move on. With non-exclusives, I always load up my libraries with tracks as soon as possible (especially ones you can upload yourself, like Songtradr,Musicsupervisor.com, etc.). My upfront payment is coming from Crucial Music (originally via TAXI), for this placement. It may be soon, hopefully. https://www.cwtv.com/music/crazy-ex-girlfriend/season-4/episode-418 Here's the track: http://edhartmanmusic.com/latin_world/s/in_love_with_you_with_strings
Broadjam: I was looking into again, although I am hesitant. Anyone have success with them? It's been years for me, and the only success was a client finding my track on the website, independently of the opportunities.
MusicGateway: I will be talking to a representative from this portal next week. I will report, if there is anything interesting. I have made connections with libraries. The free membership is very limited now (think UK version of Songtradr). The are extremely active, and might be worth pursuing in the future.
MusicXray: Nothing new. There has been some recent activity. A film is interested in a track, but there has been no budget given. I will say that 99% of the time I do connect with the client within a few weeks, at least. It can be a bit problematic, considering the clients get part of the submission fees. I watch out for "We'll take all kinds of tracks" type listings. Be extremely cautious and seek out very specific requests.
Youtube: A bit more YT revenue viaadrev.com is coming in regularly. They collect for music on other channels. It's not as much. See July issue regarding what happened. I am hoping for a consistent payment now. It ALL helps! I did also get a little over $100 from YT, itself. They collect revenue from my channel. I have had some minor success with videos from when I ran my Drum Store, especially this one: https://www.youtube.com/watch?v=cXABEquwkVw (146K views)
Tales from the Tech-Side:
* Logic issues: I had a recent issue where Logic would not save files in a folder, but put them all over the desktop. Mr. Logic, Doug Zangar gave me some suggestions, and the problem was solved. I recommend Doug for all things Logic. He can help over the phone (take over your computer), or come and help set up your studio. He does videos forGroove3.com For NW artists, Doug runs SLUG (Seattle Logic Users Group) They meet monthly and kvetch about the program!
Questions from the Audience... How does metadata work? Am I supposed to tag my .aiff or .mp3 files myself before sending in the final mix to the publisher, or do they do it? Recently you mentioned Metadatics but I had gotten Tag Editor by Amvidia. I'm not sure I'm using it right, because after tagging, when opening in iTunes, I don't see any data. Also I don't see any data after tagging in iTunes, or when opening iTunes from my work com vs. my home computer, so obviously I wasn't doing something right. I haven't been able to find ANY tutorials, or even any info about tagging, if you know of some resource. W Yes. I aways tag my music, whether I need to or not. Clients can retag for their own purposes later (libraries and publishers). I recommend: Keep ALL of your versions of a track in a folder. Do your tagging as soon as your first high quality mix is done (24-96 - then you can copy them. I usemetadaticsfor group tagging. (excellent program - drag all files in, tag and save. The files stay where they are). You can copy and paste universal date, like comments - PRO, contact information, etc.) I check all files with this program before sending out, ALWAYS! I also useSoundstudiofor individual post editing and meta. I only use Itunes for making mp3s (after tagging - the meta stays with the new versions. It's most important to have meta when you send to filmmakers, music supervisors, and any direct clients. Without it, the tracks can disappear in Itunes. You may actually get banned as an artist if that happens. I have heard that from Music Supervisors over the years!! No joke. I don't know your program. Meta should show in Itunes, although WAV files can have issues where the meta does not show up in Itunes. Try AIFF files.
My other question is about stems. One publisher I work with insists on me providing cut downs of 1:00, :30, and :15. Another (Black Toast) doesn't ask for anything besides the original file. As BT is considered a primo publisher, I'm wondering why they don't ask for the cut-downs.... do you know? Or are they going to ask me for cut-downs when they have a placement for the track? I would guess that BT is mostly doing "source music" - like music on a radio in a car or in a restaurant. Most of my friends that work with BT are doing those kind of tracks. They've never wanted my tracks, although I have many tracks that get placed in very similar scenes. Cut downs are most typical for reality, where the editors want to play with it. W
Finally, I am curious about a couple songs I haven't been able to place. Do you charge a fee for listening and offering your thoughts. W I haven't done that before. I'm happy to check some out for your (1 or 2). For a deeper discussion, I would probably recommend a one-on one-session.
Finally...A number of friends, and myself received good news of acceptance for tracks from a library, I was already in. I received a number of emails about it, all asking about the deal. TAXI had listed the library as offeringbothexclusive and non-exclusive deals. I have mostly non with this library, along with a few exclusives, by request. The emails from the library suggested that it was an exclusive deal, though. I did challenge the language of the email, and the library (knowing me, already) immediately said non-exclusive was fine. This was a bit odd, but in the end, everyone I knew also did the non-exclusive route. There really was no reason to go exclusive (no upfront payouts), and I do know that this library does engage in library buy-out deals (the library gets a big upfront for a network to use their entire library for a fee, or even free) in exchange for back-end royalties. This is generally fine, and I have received good royalties from this library over the years. My concern was that they were rumored to work with some networks that don't pay backend through your PRO, but directly. That can be iffy. If there is no upfront, and possibly no royalties, there is NO money. Anyway, all is good for now. Be cautious, and do NOT be afraid to ask questions to anyone in the licensing business, ever!
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 week:
"Jazz is the art of thinking out loud." Barbara Januszkiewicz