14 Comments

Interesting and horrifying read - somewhat mirrors my experience as a radio plugger in the 90s, especially on the self care front. And I feel like I got out relatively unscathed. Stay strong in there, the music makers appreciate your work!

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Great read.

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I feel like there needs to be more education at film schools, for the future producer, director and show runners. They need to understand the importance of proper budgeting, getting a sup in early in the process, understanding what is reasonable song requests with the budget they have etc ( clearance procedures). Hats off to anyone who goes after this position.

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Yessss!

And you haven't mentioned that you are flooded with music submissions, people wanting to have a coffee with you, or friends of friends that need you to listen to their music and give them feedback, and they send ABSOLUTELY EVERYTHING they have ever recorded.

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I could have a whole newsletter about unsolicited submissions haha. It was always the lowest priority, I hope people read this and understand why.

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This! All of it! Thanks for laying out so much of what supervisors + coordinators talk about in private, but no one will share publicly in such a a well-articulated, honest way. This job is such a heartbreaker.

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Thank you Danica! I hope that my experience can potentially help others! It's important to talk about these things :) Sending you love xx

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Hey guys,

I’m 28 and extremely interested in this career path or something of the short in the music industry. I just would like to know for me, someone without a college degree what’s the best way to start, like what should I go back to school for and such other things

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Hi ya!

I would say if you’re looking at getting into music supervision and my article didn’t phase you in the slightest, then I would suggest learning as much as you can about licensing and copyright. You don’t necessarily need a “degree” in anything to get into music supervision, but as much experience as you can get in the music industry - the better. There are music supervision programs and classes you can take (LACM, Berklee).. But the more knowledgeable you are in publishing and music rights, the better. Just depends on what you’d like to do! Oh, and taking one of these supervision courses doesn’t guarantee you a job in the industry. Most freelance companies don’t hire very often.. So networking with active music supervisors and the supervision / sync community is super important in order to get your foot in the door. (i.e: labels, publishers, sync licensing companies, the guild of music supervisors etc). And if supervision feels too intense, you could always look at pitching music to supervisors and working at the labels/publishers/sync companies directly. It’s still a very creative role, just working with specific catalogues and pitching them.

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Thank you so much for sharing your experience. I read your article because I am trying to tap into this field as a contributing musician with original music. As a member of ACTRA in Toronto for many years I was on a ton of movie/TV sets as an extra so I am well aware of what happens behind the scenes. The pace is frantic and must adhere to specific timelines especially where money is concerned. Again, thank for your insight which will be of immense help to me going forward... Sincerely, Randy Dawson. email: dawsongoldmusic@ gmail.com

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This was a helpful and informative read for a musician who is trying to learn more about how licensing happens.

It made me wonder if there is a way that independent musicians can enter this space without being intrusive or obnoxious, since a lot of supervisors' time is being eaten up already and it can be hard for smaller musicians to pull attention without a budget. Did you ever encounter any examples of indie musicians who were especially tactful and respectful of your time, and would you be able to share what made them stand out if so?

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Looking for licensing representation is the best option to get your music to them without over stepping. A lot of music supervisors don’t accept unsolicited material. Having representation means the supervisor can go to them for fast approvals and trust it will get it done efficiently. Otherwise, it’s usually best for the supervisor to come to you. Supervisors license independent music all the time but it’s usually through word of mouth or because they found them online themselves. There are a ton of third party licensors out there you could submit music too. They already have established relationships with the supes, so you’re options are much higher if you find representation.

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You can of course attempt cold emailing, but keep the email short and sweet. Mention a project or a specific use the supervisor has done that has stuck out to you. Mention if there’s a prior project they’ve worked on that your music may suit, even if it’s a project that’s come and gone. Just make it personal without writing a novel. And if they don’t respond, you can send one follow up email a week or two later, but I wouldn’t follow up again unless you have another release many months / a year down the road. They may search for it in their email months down the road too, so just respect the space, even if you don’t get a response. It doesn’t mean they didn’t get it.

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Thank you for the thorough and detailed response! I appreciate it and it's super helpful to know how to avoid making anyone else's life more difficult.

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