Adventures in Music Licensing February 2021

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Ed Hartman's 

Adventures in Music Licensing & Scoring! 

February 2021 Vol. 9, No. 2 


* Happy Groundhog Day! 

* Because my classes through North Seattle College are on hold until next fall, but I am continuing to do individual and group classes, myself on Zoom.  I'm looking into scheduling another class in the next month or two.  Please let me know if you are interested. Thanks to everyone that took part in my licensing class on January 16, 2021!  It was a tremendous session.  Zoom really does work well for this.  Everyone was involved, and we listened to tracks by all of the participants.   Please share with anyone that is interested in getting into music licensing.  If you want to do a follow-up session with me, please let me know.  I've done a LOT of them lately, and they have been incredible. 

* If you have a story about a placement, or a tip on getting music in media, or scoring-to-picture, please contact me.  Thanks! 

*  NEW FB page about licensing: (Please like to get more info in between emails) 
Get Your Music in Film and TV: (please like!) 

*  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)  If you have an idea for an article, please feel free to let me know. 

Meme of the month: 
* Happy Groundhog Day! 

(From the Broadway show, "Groundhog Day".  Yes, the drummer plays on stage) 
Speaking of Groundhog Day, “I Got You Babe” - one of the great "placements in the history of movies! Think about how many times that track gets played in one film.  Multiply it by times broadcast.  Someone is making money. 

ONLINE Music Licensing Classes available: 
I am doing a TON of individual sessions! 
Brand New Short 3 minute video about Music Licensing Lessons: 
General Information: 
Whether you are new to getting your music in film and TV, or would like a refresher or follow-up, I can generally help.  I can get a LOT done in a session! 
Classes taught on Zoom (free app) via private invite. 
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) or CC. 
Next class TBA - Email for information, special pricing and registration. 
One-on-One session:   $70/hr; $100/ 1.5 hrs./$120 2 hrs. (Email to schedule) 
(ZOOM-best, FB Messenger, Skype, Phone) 
Prerequisite: None. Beginners or experienced composers, songwriters & producers welcome. 
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. 
Email to get more information. 

New interview! 

As the Earth Turns! 

More Interviews with Ed: 

Ed Hartman Scoring News: 

*  DACA doc is scored!  I had a wonderful working relationship with the director.  Only a few redos.  The film should be quickly heading to festivals.  I hope to help the filmmaker with promoting the film, as well.  More news soon! 
* A short I scored, "Pause" had a great private screening soon.  The film has been submitted to film festivals. 
* Scoring ops are on the horizon:  TV pilot.  They are looking for a 50s-60s style TV theme.  Right up my alley!  Also, a wild film about mental illness.  Stay-tuned. 

"As the Earth Turns" Update: 
New interview link in this newsletter.  Fun folks, too!   Lots of reviewers hang out in those places.  I have a good dozen new reviews coming in 21, already! 
I am finishing up a mini-doc (waiting on clearances) - DVD coming, and writing a biopic about the director, Richard Lyford. 

As producer of the film, I can really use YOUR help:  I am looking for retirement communities, schools with film programs (HS, College), Film history clubs, NW History Groups, Theatres, Activity centers, etc.) to do ZOOM screenings (in-person in the future).  They can be anywhere in the world. Thanks! 

INFORMATION ABOUT THE FILM: (links to Amazon, Google Play, YT Movies, Tubi-TV) If you have no access to any of those platforms, please email me for a private vimeo link) 
Please use good speakers or headphones for the film.  The music IS the dialogue! 
122 festivals, 135 awards/nominations 
(including 34 for best score!) 
Reviews and interviews on: 
Backstory: (A lesson in serendipity) 

"As the Earth Turns" will be on Turner Classic Movies in the Fall of 2020! 
"Had Steven Spielberg been a 16-millimeter camera-toting teen in the 1930s, his home movies might have looked like “As the Earth Turns.” 
Michael Rechtshaffen, LA Times 

My soundtrack album is available! (Amazon, Itunes, etc.) 
Nominee:  Independent Music Awards! 
“Congratulations on your achievements and a fantastic score. Continue making music that tells a story as much as the film itself. We hope to experience more of your work in the future.” 
Global Independent Film Awards (Winner Gold Award, Best Score) 

Recent adventures in licensing: 
The Virtual Sync-Summit was AMAZING!  Mark Frieser, the founder of Syncsummit invited me to be on a "Composition for Media" panel with other publishers, composers, etc. 
The entire event was over-the-top and went 14 hours a day. It was similar to the TAXI Rally, with a bit more about Sync-Agents and Music Supervisors.  It was very interactive. 
Participants/Artist profiles. 
I may be working with Mark in the future.  Watch this space... 
PS:  The FREE "Sync Cafe" is on FB and YT a few days a week!  Incredible interviews with industry folks, including music supervisors! 
Related:  I was treated to a private walk-through of as a result of my participation in Syncsummit.  It will be an automated sync portal for every possible aspect of licensing by all participants.  This is big folks. Get on the mailing list. 

5,000 connections on Linkedin - Woo-hoo!  Yes, it really does work.  I know many composers, filmmakers, film producers, directors, actors, music editors, music supervisors, etc.  It takes time, and the more folks you know the more your web enlarges.  Connect with other tribes (filmmakers, TV, etc.)  Linkedin wants you to stay in your tribe.  Break out!  I did announce this on FB, Twitter, and Instagram, and have another 70 connections in a few days. 
Go ahead, make my day- Connect with me! 

Honey, your royalties are in, dept: 
I also just got another even bigger payment from Adrev for the infamous documentary that continues to gather views (at 1.7M)! 
Some decent unknown money is coming from CDBaby. Still researching. 
Songtradr News:  And, I got some reasonable money from Songtradr for Tiktok monetization!  I currently have 44 tracks in that platform (many more pending), and 3 have been licensed, and AFIK a number of them been used by 1000s of videos.  Looks like"Raga for Ravi" was licensed for an app, Fiit TV.  IMO there's a similar better track, "Tabla Tahini".  These were done for TAXI pitches (didn't get them, but who cares?)  Both have been accepted in another great, and very critical library I am with.  (Figure it out!) 
BMI quarterly payment continues to be reasonable and came EARLY again - thanks BMI!  A bit lower (I am hearing that from many composers).  Tons of folks are watching shows.  New shows are slow to come out, but they are.  In fact, a new placement through a brand new library (for me) was on a pandemic zoom show on Nickelodeon, etc. "Group Chat with Annie and Jayden".  Not an easy watch for my generation!  But it pays the bills, and this is only the first track to get placed by this company.  There have quite a few of mine.  It is non-exclusive/retitle, so the track can be placed elsewhere, too. 
Football Funk (Blind Side (2009), Scooby-Doo, the Mystery Begins, The Turkey Bowl, Rise, etc.) continues to pay! The track was made on a Tascam Digital Portastudio and cheap mics sometime in the early 2000s! 

* I am bulk MORE uploading tracks to Songtradr.  They will do it on request if you have a lot.  It will be a regular feature later this year.  Xls, meta, etc. I'll report next month on how it went.  ORGANIZE YOUR TRACKS NOW.   Believe me, you will save yourself 100s of hours in the future.  Speaking of ST, even rejections can be entertaining: 
"Thank you for submitting your music to the TV Show Music Wanted. Unfortunately, your song Nobody was not selected this time around. " Talk about double-negatives! 

Tales from the Tech-Side: 
I just got one of these! 
Pad controller.  I got tired of my keyboard for percussive sounds.  This is great.  It is very sensitive, and can control just about anything.  As a percussionist I prefer real sounds, but when I'm in a hurry, or need something I don't have, this will do the trick.  USB, power from my computer.  Super easy to use!  About $120.00 - Get one from a local store.  They NEED your help! 


I've used an older MAudio Oxygen 61 for many years. (older than pictured) 

Not expensive. Not weighted.  It gets it's power from the computer, too.  Very sturdy.  Get as big of a keyboard as you can afford or have room for, especially if you want to do orchestral instruments.  Otherwise, you will be moving octaves up and down.  Ironically, I have a Yamaha 88 key, weighted keyboard next to it. It's older and has some weird issues with MIDI so I rarely use it for my DAW (Logic).  I do use it for teaching, etc. 

Weighted keys simulate the action of a real piano hammer. Non-weighted is like an organ (just a key, no pressure or weight to it). Weighted keys are great for good pianists. For me, I like weighted, but I've gotten quite used to non. Making sure the action is fully-controllable with "velocity-sensitivity" - in other words, the speed of the key being pressed changes the dynamics (just like in percussion - you can't play loud and slow!). All pro keyboards do this. I imagine higher quality keyboards may be more sensitive, but I don't worry about it. You can control volume (and just about anything else) with the pitch or modulation wheels. You can also edit volume (and anything) on-screen with your mouse, once it's in the program. I tend to do that, in any event. I would get the largest range you can afford. Weighted is usually quite a bit more expensive. I've had my M-Audio for a LONG time (15 yrs??) It's been dropped a dozen times, with no issues! 

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! 

"Know Your Genres, Dept: 

Hybrid Orchestral/Epic 

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

My interest is in how to collaborate and coordinate to work with scorers and composers to add my ambient operatic vocals to film/television, etc. Almost comparatively to a featured instrumentalist. This may often be work for hire. 
I understand that composers can get vocal samples from vocal libraries to simply mix in. However, I am an intuitive vocalist and am able to energetically assess the music and go back and forth with the composer, to get just the right tones and moments as a specialty. 
Regarding doing vocals for composers (your own tracks sound good, yourself, too) you certainly could do remote recording with someone creating tracks.  I just did a short film, that probably could have used your voice.  I did use some existing loops (I wasn’t crazy about it, but the filmmaker didn’t have any budget to bring in anyone), so it kind of worked! 
Some of these might be places you could create a presence at.  Finding composers to work with would be an overall marketing job.  Join every composer group on FB, Linkedin, Taxiforum, etc.  Keep posting your work, and push for collaboration. 

How often do you offer your classes and is there a guarantee of landing some sort of work from them (of course provided that my work is up to the expected caliber)? I did have a music business class before, about ten years ago but nothing really came of it. 
Historically I offer classes a few times a year. Orginally the class was offered through North Seattle College (Continuing Ed.), but with Covid, those classes are on hold until fall 2021.  I have done a few Zoom classes on my own, and they have been great!  I’m doing a LOT of one-on-one sessions, and they have been amazing.  I can teach folks anywhere in the world (zoom is free, too). 
No guarantees about success with all of this, sorry.  I’d like to find ANY class that guarantees anything!  This is a LONG game. It’s about your catalog over your lifetime.  Sync placement takes a lot of work.  You have to be set up ahead (publishing, PROs, etc.)  The more tracks you make the better the chance.  It’s not about YOUR music, it's about the project that you are pitching to.  Imagine you are a filmmaker.  You are not making a film to promote someone else's music.  The music is simply something that happens to fit the scene.  The bonus is it may promote your music, while paying you, too. 
Ten years ago is a lifetime in sync.  Much has changed.  The music business in schools is usually very weak.  In my opinion, music students should spend HALF their time on business.  No joke.  No school does this, and this is why most students from music schools fail.  Only folks in the trenches really know what is going on.  I am seriously in the trenches.   I have learned new things yesterday, that have changed the landscape.  There's a ton of free things out there, to learn from.  You just have to keep your ears and eyes open. 
My class is about the business - setting it up, organizing your catalog, pitching, and how payments, royalties, etc. all work.  You have to do the work.  It’s ongoing, but if you are a composer, it’s exactly what you are in business to do.  Your catalog is your store.  You have to get new customers all the time.  There are companies that can help, too.  This is what I teach. 

 Thanks!  I was just reading your Dec newsletter and you mention the issue of using sound samples in recordings and the possibility of getting sued or a library dropping the song.  Could I use this for a recording and library since it is "free"? 
Good question.  I can’t answer it regarding that particular link.  It suggests it’s free, but you would probably have to research it a bit.  It's one thing to put a track on a personal video for your own use, and another thing, entirely, for it to be available for sync in film and media.  Libraries may ask you if there are any "samples" in your music? (besides plug-in libraries, loops, etc. that come with your DAW or you purchase). 
There are sound fonts out there, that are generally OK to use.  I would still be careful, and read about your potential usage in a project. 
Personally, I would take it as a challenge to create it using existing sounds (in Logic for me).  Any synth using a combination of white noise and a filter could come close.  Add reverb, chorus, etc.  Otherwise, I would probably grab my Zoom recorder and find some wind and work with it.  I don’t think there’s really much difference.  You could even manufacture the wind yourself!  a fan, or your voice! 
I just created a track by blowing with a little whistle, sideways next to a mic, into Sound Studio (like Audacity just a 2 track program).  It would be much better through a DAW.  You could also sample it, and then change pitch using your keyboard, add chorus, pan, etc.  Took 2 minutes.  less time than searching!! Hear it here! 

Video of the month: 

Speaks for itself. 


Expressive E Touche SE USB Expression Controller: 

Unclaimed royalties: 

Andre Desplat Interview: 
Cobra-Kai composers: 
More related interviews: (Film Music Channel) 

NAMM (Virtual and FREE!!! 

Why some libraries don't want to hear your music: 

FREE Sync-Bootcamp: 

FREE Film scoring competition: 

FREE Industry contact lists: 

ISWC Numbers: 

How to Contact Music Supervisors: 

Scoring during a Pandemic: 

How to Become a Movie Producer: 

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

List of Virtual Events: 

Meet Music Supervisors in person! ($$) 



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: 

Shameless self-promotion Dept: 
T-Shirts, Cups, Towels, Posters and SWAG! 
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. 

Classic Quote or Joke: 

"Competitions are for horses, not artists." 

Bela Bartok