Adventures in Music Licensing June 2020

PDF:( recommended for links, etc.)

Ed Hartman's 

Adventures in Music Licensing & Scoring! 

June 2020 Vol. 8, No. 6 


* Well as much as the Pandemic is happening, we now have major social issues impacting our lives.  I hope everyone is safe and in good spirits!  I do believe we will get through this, and things will be better in the future.  All I can say is make a ton of music.  Entertainment industries are already firing up! (As a producer, I am on many email lists from the film and TV industry. It IS happening)  There are still needs for musical content right now, and they will grow exponentially in the future.  Make those tracks! 

*  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) 

*  Major announcement #1:  Follow-up Licensing class Saturday June 13, 2020! For anyone that has taken my class, or already is involved with music licensing.  See below! 

*  Major announcement #2:   I do have a HUGE favor to ask, it would be a tremendous help to me, and you will get a serious kick out of it.  My film, "As the Earth Turns" is now on Amazon!  I've spent the last two years working on this a composer and producer.  It's been a mind-boggling adventure.  It is incredibly important to get reviews on the Amazon platform - you can just put stars, and/or write something).  Please watch and review the film.  
Last-minute UPDATE:  There seems to be an audio problem on Amazon for the film - the audio is soft, probably due to a Surround Sound issue. It may resolve in the next few days.  I can still use the reviews (in a BIG way!).  If you would like to see the film with great audio, please email me right away for a private link.  If you can do a review afterward that would be great (you should be able to sign into Amazon, or use Amazon Prime for free)  Reviews can be either stars or written.  Everything helps.   The Amazon link is below. 

* I hope you are motivated to keep creating tracks for future projects!  If you are like me, you might need motivation.  Hopefully, this newsletter will help.  I do recommend companies like TAXI, Songtradr, Musicgateway, etc. as ways to at least see the opportunities that are out there.  Even if you don't join them, you can get an idea of what is "in demand".  You can always hit up music libraries directly with tracks developed from these opportunities and briefs.  Personally, nearly all of the placements I have gotten came from pitches other than the one I wrote the track for.  Those initial opportunities did motivate me to write the track, though! 

*  I got this newsletter out a bit faster this month, because I want to invite you to the first "Follow-up Music Licensing Class (Online) for anyone that has taken my class, or knows the basics (you have PRO membership, pitched to libraries, etc.)  See below for more info or email me!  I need to know ASAP if you are interested.   

* 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!  
$50/2 hrs. (ZOOM) 
Next ONLINE Date:  Saturday, June 13, 2020, 10am to Noon (PST) 
Email to register.  I need confirmation ASAP. 
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" (Appropriate, right?)  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) 

Can't make the class? 
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 beginner's 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) 

For the ages, especially this one.  
Them music is an older electronic track of mine. I added an interesting narration, that is in the spirit of "Desiderata" a famous poem by Max Ehrmann. ("Go placidly amid the noise and the haste...") 

"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 so very happy to announce the film I produced and composed, "As the Earth Turns" is now on AMAZON!  After 80 years, this amazing SCI-FI film can is now available for the entire World to see! 

You would be doing me a tremendous honor and favor, to watch the 45-minute film, and post a review on Amazon, of what you thought about it.  Of course, I hope you like it, but please feel free to be true to your feelings.  All reviews help the film get better traction online.  It is such an unusual film that was created so LONG ago!  Please let me know what you thought of my score, too.  Honestly, if everyone did this, this film would have a HUGE rating.  
Last-minute UPDATE:  There seems to be an audio problem on Amazon for the film below - the audio is soft, probably due to a Surround Sound issue. It may resolve in the next few days.  I can still use the reviews (in a BIG way!).  If you would like to see the film with great audio on Vimeo, please email me right away for a private link.  If you can do a review afterward that would be great (you should be able to sign into Amazon, or use Amazon Prime for free)  Reviews can be either stars or written.  Everything helps.   The Amazon link is below. 
Amazon link (trailer on the link) 
Please use good speakers or headphones for the film.  The music IS the dialogue! 
Short 4 minute info video about the film: 

This film was directed by Richard Lyford when he was 20 years old, living in Seattle, Washington.  He went on to work for Disney, and direct an Academy-Award winning documentary in 1950. 
The film is great for ALL-ages, and is a wonderful way to show younger viewers the artistry and power of "silent films".  There is no strong language in the film, and it is comparable to 1930s Flash Gordon serials.  It's the length of a TV show, and very entertaining to watch!  It has a nice twist and a surprisingly emotional finish.  

121 festivals, 135 awards/nominations 
(including 34 for best score!) 

"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 



Here's a private video (4min) about the film and how the project came to be: 
(I am working on a Biopic about 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!  If you see the film somewhere, PLEASE LET ME KNOW! 

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) 

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

Recent adventures in licensing:  
Because I am putting a huge amount of time promoting my film, I have been a bit less involved in pitching.  I do keep an eye out, and things are still coming in from many places.  Get on libraries and publisher's emails! Ask to receive their requests for music "briefs".  Keep your eyes open! 

Recent pitches: 
I pitched a track to an exclusive library (see last month).   The track didn't make it.  It will be in other libraries, though!  I've already pitched these to another opportunity! 

It's been a while, dept: 
* "Jingle Bell Jazz" got forwarded to a music supervisor via TAXI.  

You never know, dept: 
Thru a music pitch company, with an opportunities board on Slack, I saw a music supervisor looking for music.  They were looking for Irish-style music, including something similar to "Sing,Sing, Sing" (??)  I do have this track, and sent it to the supervisor.  He is pitching it to the client.  Fingers and toes crossed! 
Swinging in the Starlight: (I made this video a few years ago to promote the track.  Video and pics from pixabay and 

Honey, your royalties are in, dept: 
*  There are libraries that want to take over your monetization, too. I recommend avoiding them. I do have adrev, because I have some reasonable income coming from them. ironically it's due to a library that does NOT collect YT monetization. I had to stop working with them because they do a lot of micro-licensing which pays OK small amounts. They won't work with anyone that has monetization because the videos are on YT a lot. (videographers, etc.) I have mixed feelings about the whole thing, but I understand when it is an issue with libraries. Usually, it has worked out for me. Unless you have music on a viral video (like I do), YT monetization may only be a few dollars a quarter. Keep an eye on it, though. I was able to find the video that has paid well. I just got another good payment for the last quarter. Here's the video. My track is the first and last. Over 1M views and counting. A thousand or more a day. 

Recent Adventures and Thoughts about Scoring: 

* I finished (and got paid!) for another local short film!  It was a bunch of tracks, with some light scoring.  The contract was really a licensing contract.  I keep publishing on everything.  (It does the filmmaker no good.  Indie filmmakers don't have a publishing entity to collect musical royalties).  This keeps the price down, too.  I actually scored the film about 5 times.  It did give me a bunch of new tracks, though! 

* As you can see above, regarding "As the Earth Turns' on Amazon, film production never ends!  I am also producer on the film "As the Earth Turns", and responsible for getting the film in distribution, etc.  There have been some pretty difficult obstacles to getting "deliverables" (all assets, video, stills, PR, etc.) to film festivals, a 7-day theatrical run in 7 in LA, and even Oscar qualification!  Yes, I did that, too.  Anyway, as hard as getting tracks ready for libraries, publishers and directors is, it is another thing to take a film and get it ready for every possible presentation!  I have some pretty interesting horror stories about it.  I'll share them in the future. 

* On a very positive note, my score for "As the Earth Turns" was nominated for an Independent Music Award this year!  It didn't win, but I did make a fun video for it, and used the nomination for promotion. I have learned through film-promotion, that it's not the "wins" but all awards and nominations that could.  See my IMDB and website).   With the Pandemic, the live event in NYC was canceled.  I'm not sure if they are planning an online conference. 
Here's my Nominee Q&A.  (They did a nice job of PR!) 
List of nominees: 

Tales from the Tech-Side: 

Keep SFX (Sound effects) out of your mixes, if you are pitching to music libraries.  These elements can get in the way of dialogue, etc.  Films and TV may have a "sound-designer" to add those things.  There are composers that add sound-design to their package and get more work that way,  It's something to consider if you want the work. 

A story from my performing years.  It still resonates, and the lesson is the same in the composing world. If you really want something, it will come to you, but you must be prepared. 
Paul Winter Consort 
Icarus LIVE: 
Icarus Best recording: 

I worked with Paul Winter on a few occasions in Oregon (the State) and Seattle in the 1980s (Note:  I am not on the recordings above).   The funny thing, is that I was really into his music in college.  I wrote him after graduating to play with him.  I never received a response.  Years later, a friend of mine, who had worked with him, recommended me.  Paul was playing a concert in the middle of Oregon, in a clear-cut.  The stage was out in the middle of nowhere, using a generator).  I was flown down, driven 2 hrs.  I had simple percussion with me, a hand=drum, shakers and bells.  There was a drumset there.  Now consider, that Paul had previously worked with Steve Gadd, Colin Wolcott (Oregon), a semi-truck of percussion, and was transitioning to Glen Velez, the most amazing hand-drummer in the world.  I was a young player.  I did understand pulse and syncopation, and was able to do a reasonable job.  Our rehearsal was next to a river, with a few instruments.  The concert went well.  By 11pm, I was spent, driven back to the airport (sick to my stomach), waited for an early flight, and then hosted a radio broadcast at Folklife, playing marimba!  Hellava weekend! 
Later that year, I was asked to play with Paul at a world peace event, in the Kingdome.  I brought my set.  We sat in the Mariners locker room waiting to play.   In the end, we only played a few minutes.   
Paul felt bad, and invited me to play with him at the Opera House with Glen Velez, and the group on New Years Eve.  I did OK, but never was invited back to play after that.  I did watch a performance the next year with Ed Mann (tremendous percussionist), and saw how aggressive he played.  I played more like an orchestral player (shakers, hand-percussion).  What I didn't realize is a small group like that is really a group of soloists.  You have to stand-out.  I wasn't ready.  The lesson is to be ready.   You need to study up on where you want to be, and get as good as the gig demands.   

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.) 

What kind of "alts" does a library need for reality TV? 

There are no rules, really.  Generally, library tracks run 1:30-3:00 min.  A film can want any kind of music and any length.  Requests can vary.  I always overwrite.  You can always shorten a track, but making it longer can be more challenging.  Typically, if I am writing for an ad campaign, I will create a 90 that can break apart into 15-30-60-90, and possibly a “stinger” - quick 5 sec ending.  I really haven’t had a ton of experience, and you can get better info.   
With all lengths, there is a history of taking a .5 sec off each. (29.5, 59.5, etc.) I am guessing as editing is a lot easier now, clients know they can manipulate tracks for length, etc. much easier. 
Alternative versions (“alts” can be without other parts.   
No melody 
No percussion 
No strings 
Bass and drums 
Bottom line: 
The clients will guide you with what they want.  Libraries are usually pretty happy to let you know.   

What about TAXI?  Is it worth the money?  How much can I make from it? 

I have written extensively about TAXI, and my experiences… Here’s a summary: 
TAXI is expensive.  You pay a lot up front (less after the first year), and you pay per pitch ($5).  That’s a lot of investment for questionable financial return.  The reality is that pitching has become more challenging through companies like TAXI, as more creators have content.  With TAXI, you are paying a screener to listen to your track (guaranteed -they are on staff, and are music industry folks), and potentially (not always) give you feedback.  You may or may no agree to the feedback, but it can help your game, considerably.  Even if you get your track forwarded to the client, the client still has to want it.  You may never find out, either.   Wow, what a bunch of negatives, right? 
Here’s the reason why I still believe TAXI is a good idea: 
The TAXI Rally in the fall (LA in November (Online this year?), and folks come from around the world).  You get 2 free tix with your membership (sell one to someone, and pay for your membership!).  It is an amazing event of over 2,000 composers and songwriters hanging out for 3 days.  There are panels, workshops, jam sessions, freebies, and industry people there (music supervisors, music libraries, music publishers, artists, etc.).  Education is the brilliant extra with a TAXI membership.   
The Rally brings you a ton if great information.  I checked out the ASCAP convention a few years ago.  I asked if I could teach a music licensing class.  They said that I would need to be a sponsor ($5,000), and they would “consider” the idea.  Basically, corporate sponsors pay to be there (selling books, software, etc.)  The ASCAP convention cost over $350 at the time, too.  It was a good event, and has some big names, but educationally wasn’t as realistic as the TAXI Rally.  It was at a very expensive hotel, too.   
For comparison, no-one, not any presenter, teacher, panelist, etc. gets paid to participate, yet a huge amount of folks do it.  I’ve taught there a number of times.  Besides being on the inside (always a good idea!), it simply is that cool of a hang.  The community of TAXI is world-wide, and extremely giving.  There are FB groups, a free TAXI forum, and free TAXI TV on Youtube (nearly everyday, right now).  The hotel, next to LAX (free transportation)  is great and TAXI gets a good rate (you can share a room to save money.  Cheaper hotels are nearby, but I recommend staying where the action really is, the bar!). 
The founder, Michael Laskow, is a very nice and giving person.  He pretty much has devoted his life to this company.  I have gotten to know him personally, and believe he is truly sincere in his need to help musicians.  His outreach has been multiplied by 1000s of TAXI members.  He will always guarantee satisfaction with any membership. 
I watched TAXI pitches for nearly a decade before I joined.  You can, too (just sign up). It will give you an idea of whether your music will fit those pitches on a regular basis, or you can create enough tracks in different styles and genres to make it work.  I can say that with ANY company I work with (pitch services, libraries, publishers, etc.) the motivation from a pitch tends to get me to write a new track.  That track rarely gets the gig it was written for, but it becomes another track in my library, and many times, will get a placement in the future.  Over the years you generally need to build up to many 100s of tracks to get successful, although knowing your strengths can make a difference.  These are all concepts I owe to  
TAXI.   With the current state of the Pandemic, you really don’t know what the situation will be by November regarding the convention.  I have to believe if it does not happen, a virtual one will be just as good. I am hopeful that there will be a live event in the fall.  With all of the information coming out (TAXI TV, etc.) you can certainly fill your brain with good information whether you join or not.  Think about who is giving you that information and whether you are supporting them in some way.  It’s not a guilt trip, but a reality check of all of the people in this world that really do a lot of the work.  Putting together businesses, organizations, events, and institutions, is no joke.  it takes an absurd amount of energy and drive.  I have done it myself.  I do respect those that do create things.  There is criticism of companies like TAXI that charge for their services, especially when it is more expensive that others.  I recommend finding balanced information about anything you do that costs money. I always teach that the music business really is a business.  Businesses take capital (money!) to get started. How much would it take to open a restaurant, for comparison?   Musicians will spend thousands of dollars on instruments and software, but be very stingy with marketing and business education expenses.  For me, TAXI is the best value for an education in the music business and especially music licensing.  I do work with many companies, too.  You can get to music libraries directly, but TAXI can tell you what the actually want, exactly when they want it.  It may not get you the gig, but you will find out what is hot at the moment.  The magic occurs when supply and demand meet in the middle.  You want to be there at that moment. 
PS:  If you do decide to join TAXI, please call them (don’t join online) and mention my name.  You will get some free submissions.   
Regarding how much any opportunity pays, it varys from $100-100,000, honestly.  It is a very slow game, similar to retirement investing.  Even “up-front sync fees’ can take months.  Royalties take 9 months +.  It’s when you have a number of placements, that regular income occurs.  Pennies add up from many different placements, and you never know what will pay more.  The length, type of placement (feature, background instrumental, vocal, theme, day of broadcast, etc.) all control the royalty abount.  It is very fun when it happens, and feels like you’ve won the lottery.  In the end, it’s not the lottery, but it can add “passive” income to your business.  That means, you no longer have to work at it, just like stocks and bonds.  You asked about essential to have a membership -?  Yes if you want to actually pitch your tracks, you have to be a member.   
Getting selected is always very challenging.  It can take a LONG time, but you gotta start somewhere. 

I really want to get focused on scoring.   What is your best advice to me? 

If you mean scoring for films, that’s a big question.  All I can say is start thinking like a filmmaker.  Hang out with them.  Connect with filmmakers, find them at film festivals.  Understand filmmaking and all of the people that are involved.  Seek them out on Linkedin, Facebook, etc.  Make your own videos for YT.  Use Pixabay for free visual content.  Score vintage silent films ( for practice and promotion.  See my YT page for ideas about making tons of promotional videos.  This video led to my film on Amazon.  No joke. 

Thanks for helping me out here. It's all so new and fast... I got an opportunity from an experienced film composer who after listening to my portfolio, reached out for collaboration. 
He's starting a library and is looking for a small team of composers to fill it but he's looking for a 70/30 split with 70% toward him. His pitch is basically that he'll do all the work to win the bids and use his name and connections in order to do so.  
As I'm new, I'm thinking that even though 70/30 is a bad deal, it may be a good way to get experience as long as I'm not 100% dedicated to writing for him.  
What are your thoughts? Have you seen this before? 

It’s an interesting quandary.  It sounds like a “ghostwriter” deal.  I would do it, if you really want into film-scoring.  This composer looks pretty good and setting himself up for bigger projects.   
Imagine it was Hans Zimmer.  Would you take the deal?  Probably yes, right.  Many would pay to work for Zimmer.   
30% of what?  $100K?  I’d take that deal.   
The reason I would take the deal is not because of the split, or even the money from it. I would take the deal because I would get more experience scoring, especially at a much higher level.  (real orchestral recordings, etc.), and I want to learn a lot about it.  The real question will be whether you can handle the gig.  I know it would be a challenge for me.   
The split is not about being fair.  It is about the composer’s reputation.  You are simply a worker bee.  You might compare it to an hourly fee to a percentage.  If you can get $25-100/hr, that’s probably good at this point, right?  If the films he scores are good and make money, you may make a lot more in backend (if that’s included). 
Will you get credit?  Most “ghost composers” don’t.  But does that matter.  Would you demand credit from Zimmer or Williams? 
If this composer is really just getting going (It sounds like it), you would be on the inside of something possibly pretty big.   
In the end, I wouldn’t make the percentage the issue.  How do you feel about the composer?  Is he nice?  or is he really a pain, which might be exactly what is necessary in the very stressful and time-sensitive world of scoring at a high level.  Zimmer looks pretty relaxed.  He’s got many people working for him.  He realized scoring is a business, and he needed to set up one to handle it.  Most composers don’t understand this.  They think they can do it all (I do a lot of the time, myself!). 
Get to know the composer.  He is asking you to be part of his company.  That’s a big deal.  Would you ask him to be part of your company?   He could of offered you an hourly job, but where would that go?  What is so cool about this kind of opportunity, is that one day, when he is too busy, and says, “Can YOU do this film?  I don’t have the time.  You can have the credit, etc."  I have heard that is how some composers have gotten started.  If you REALLY help this guy, you may get a lot more in return than 30%  This is a major investment.   
To be honest, I’m not sure I’m ready for that gig at any price, frankly.  Maybe if I was a bit younger! 
Let me know how it turns out, and good luck! 
As Hitchhikers Guide to the Galaxy says, "Don't Panic"! 


Music Map (put in an artist and get sound-alikes, a las, etc.) 

Understand you client! 

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

iZotope Ozone 9 Elements Is FREE Until June 5th! 

Musicians: What You Need To Know, But Your Managers Aren’t Telling You (Part 1) 

The DIY Musician Podcast’s TOP 5 episodes of 2019 

The Modern Guide to Music Publishing 


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! 

Meet Music Supervisors in person! ($$) 

TAXI Daily Quarantine Happy-Hour! 


CDBaby DIY Convention ("Plague Permitting") 



New track - The Heartland (originally done for a film) 
Piano lead: 
Vibes lead: 

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 keeps people sane." 
Zoot Sims 
Amazingly appropriate quote for the times. 


All contents © 2018 Ed Hartman 

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