“How do I get my music heard?” asked the caller. If I had a nickel for every time a songwriter, artist, band or composer has asked me that question, I could retire! Truthfully, it’s not a great question because it’s so ambiguous. The people who ask the question would get a much better answer if they asked a more specific question.

Here are some examples:

• “How do I get my music heard by an A&R person at a record label?

• “How do I get my music heard by a publisher?”

• “How do I get my music heard by a Film or TV music supervisor?”

• “How do I get my music heard by somebody who books bands?”

• “How do I get my music heard by people who would be interested in buying it?”

Even those questions aren’t really specific enough. Don’t you want to know what kind of music they’re talking about? After all, a music supervisor working on a soap opera is probably not looking for Death Metal so much as singer/songwriter tracks, right? A little common sense goes a long way!

Marketing Your Music Starts with Common Sense

If you’re looking to market your music to the public, the question might be, “Where is a good place to market music from singer/songwriters?”

The more specific you are in your question, the more narrowly focused the answer is going to be.

Let’s take the example of a band that wants to get their music heard by an A&R person at a major record label. The question would be, “How do I get my music heard by an A&R person at a major record label?”

If you’re really on top of your game, you’d be even smarter to be more specific and ask, “How do I get my music heard by somebody who works in the Pop genre at a major record label?”

Getting Film and TV placements has become all the rage, yet most musicians don’t take the time to actually watch the shows and take notes as to what kind of music the shows generally use. The road map is staring them in the face!

Don’t submit Country songs to a show that primarily uses twenty-something hipster, Singer/Songwriter music. And the question that works as the corollary to this is, “How do I get my music to music supervisors who are looking for Singer/Songwriter tracks?”

The next time you’re ready to ask, “How do I get my music heard?” give it some thought and frame your question to be more specific. You’ll be much happier with the answers you get and much more successful in getting your music to the right people!

I just finished doing a video interview with some nice gents from Australia. One of the topics they asked me about was Music Marketing for Indie Musicians. I realized while I was answering the questions that so many of the music marketing techniques I was recommending are common sense things we often overlook unless reminded.

Your instinct - or should I say reflex  - is often to market music in a way that feels like it would appeal to you. But you aren’t the potential buyer, and may not be objective when judging the effectiveness. So the first step is to identify exactly who your most likely buyer is.

How old is he? Is he actually a she? What is his life like? What does he like to do in his spare time? Where does he do it? Who does he hang out with? What kind of radio station does he listen to? Does he go to clubs to hear live music? How does he buy music? How old or young is he or she?

Music Marketing Segmentation

That’s really just a fancy way of saying that you need to identify the types of people who will buy your music. It would be extremely rare to find any music (other than the Beatles) that has across the board appeal. Demographics and psychographics matter for all forms of marketing - even music marketing! Your audience represents a marketing segment, which you need to identify and concentrate on with a relentless passion.

Once you’ve done some serious thinking and identified your target market segment, you need to answer one central question that all consumers ask when confronted with any sort of pitch. “What’s in it for me?”

Very little else matters if you can’t answer that question, and you better answer it well!

What is in it for the potential buyer? Are you in a genre that he or she likes? How is your music a cut above? What makes your music accessible, yet unique? Are you able to describe your music in a way that quickly makes it easy for your potential customer to imagine what he or she will hear?

Yes, you need an “elevator pitch,” and a really good one at that! To simply say, “My music is awesome and you’ll love it,” isn’t enough. If you told a potential buyer, “My music is similar to Taylor Swift but with male vocals,” the buyer would instantly know what it is and decide if he or she is interested in learning more or hearing it.

Marketing Your Music is Really Just a Conversation

Once you get the right people to listen to your music, you need to keep them engaged. Invite them into your life. Help them get to know you. Post session videos on YouTube. Post videos of your shows, your road trips in the van, and whatever else you can think of that makes your listeners become fans. The more they know you, the more they will feel like they discovered you, and want to share their new discovery.

Write a blog. Keep it relevant. Talk about your songs. Tell your readers what inspired you to write each one. Ask your readers to interact with you. Which of your songs do they think are the best? The answer might surprise you and that could be valuable information that helps you sell more music

Follow up with the people who buy your music. If you capture an email address for your purchasers, send them a short thank you email. Give them a chance to opt in to your email list. Ask them politely, and let them know that you’ll respect their privacy by not sharing their info.

Don’t hammer them over the head trying to sell them more music right away. Let them get to know you a bit, then politely ask them to buy more. Asking for the sale is something many creative people have a hard time doing. People are afraid to sell because they worry that the potential buyer won’t like them any more.

Selling Your Music

If you’re selling something they’ll love, then you’re actually doing them a favor by making them aware that they can buy it! Think about it - don’t you only get disgusted by people trying to sell you what you don’t want? If somebody tries to sell you a handy 8-track recording studio for your iPhone would you hate him or her? Not likely, because it’s something that might benefit you.

Marketing Your Music with Search Engines

Search Engine Optimization or SEO has become critically important. How many times a day do you use Google? So does everybody else! It’s your job to make sure that any and all the web pages that have your music on them are visible to all the search engines. It’s also important to do everything you can to get on the first page when the search result comes back.

I don’t have enough room here to teach you everything you need to know about SEO, but it’s not as hard as you think and you really need to know who to do the basics. Taking just one weekend to read SEO Made Simple by Michael Fleischner.

But remember, all the SEO in the world won’t help you much unless you are effective in figuring out how to categorize your music in simple, common terms that consumers would naturally use in conversation and when using a search engine. “Indie Country Pop” is a pretty good example. Click the link and see where you’d be if you titled your sound, web page and your genre as Indie Country Pop.

Let’s try something more specific this time. Search Google for “Acoustic love songs for weddings.” How would you like to have your song appear on the first page for that term? Think you’d sell any music? You bet!

More Music Marketing Advice

There are plenty of people offering advice on how to market your music. Some is good, some not so good. Most songwriters and artists don’t do any music marketing other than building a MySpace page and putting their music on CDBaby and other online music retailers. If you use any of the techniques I’ve described above, you should be head and shoulders above your competition. Effective music marketing is an ongoing pursuit. If you tend your garden regularly, it will flourish.

“What Are Film & TV Music Supervisors Looking For?” Songwriters, artists and especially composers ask me that question all the time. I’m going to give you the answer in a minute. Be forewarned, you might not take me seriously because it’s so incredibly easy!

Remember when your parents told you not to watch too much TV because it kills brain cells? Well, that might be true for the average person, but maybe not for musicians who want to know what Film and TV Music Supervisors are looking for. It might even be, well… downright educational.

There’s no better way to figure out what kind of music the supervisors need than to watch and hear what kind of music they actually use! I’ve been preaching this for years, but very few people seem to have listened. The success of those who have listened has been obvious.

The road maps are out there, and there are clearly different maps for different destinations. Reality TV tends to have its own sound, dramas have another, comedies another and so on. All you really have to do is turn up the volume a bit, listen past the dialog and take notes. Yes, I said take notes!

I know, I know… you thought you had finished school. Well, I promise you this education will be more fun than high school even was, and I guarantee there aren’t any bullies in the hallways waiting to stuff you in a locker.

Set aside just one hour per night to do your “homework.” Make sure you watch at least two of each type of show or movie and write your research down.

How many instrumental cues overall? Did any similarities pop out? Which genres? Instrumentation?

How many tracks were songs with lyrics? What subjects were the lyrics about? Which genres? Male or female vocals predominant?

What types of scenes did each play in? How long did each piece run?

Was the music in the clear or under dialog? Was it a background piece, did it appear to come from a source (like a jukebox in a bar scene), or was it featured performance (like a band playing in a bar) with no dialog over it?

Was the music current sounding or did it sound like it came from a particular time period like the 70s?

After doing this for a couple of weeks, you’ll have enough data build a spreadsheet and probably start to see some patterns forming. The trick is to find the patterns and types of music that best match your skill set. In other words, if you’re a little weak at writing lyrics, then maybe you’d be better off concentrating on instrumentals.

Common sense, right? Sometimes those things are easier to see when somebody else points them out. The next time you wonder what Film and TV Music Supervisors are looking for all you need to do is go watch some TV to figure it out.

You can also sign up to get FREE updates of TAXI’s Industry Listings so you can see exactly what TV and Film Music Supervisors are looking for every two weeks.

Good luck!

How to Make the Most of Each Contact with the Music Industry. Acting like a true music business professional can make all the difference. Don’t blow your chance when a Record Label is interested in you. How to meet A&R people at music conventions!

A treasure trove of music marketing tips & techniques. Easy to do steps for promoting your music online. This video will help you sell your music using common sense, low-cost or NO-cost music marketing techniques!

Promoting Your Music Online

Michael Laskow’s Music Promotion Panel Notes from 1/16/10

I was asked to join Bob Baker, Ariel Hyatt, Brian Mazzaferi and Tony VanVeen, the CEO of Discmakers and CDBaby, for a panel at this year’s NAMM show. All but Brian are good friends of mine, so it was an honor and a pleasure to join them. Brian turned out to be a great guy, and I’m sure our paths will cross again soon.

As I began to clean up my computer’s desktop moments ago, I found the panel questions and my notes/answers and thought you might benefit from reading them.

Here you go:

Question: Top 3 ways to build your fan database with real fans / prospects?

1)   Write remarkable songs that people will remember, want to hear over and over again and tell their friends about. Too many people think it’s all about marketing. Don’t bother to spend your time marketing if you’re not making great music.

2)   Give group discounts so one excited and committed fan can bring her friends.

3) Create demo focus group of fans who are emailed acoustic demos of songs to rate. It creates a bond, makes them feel VERY involved and gives you great feedback as to which of your songs are worth fully producing.

Which are the essential music social media sites, where an artist needs to have a presence today, and why?

Facebook for connecting with fans, Twitter for keeping them in the loop while on the road and giving them a sense that they’re right there with you. And CDBaby for selling downloads.

What are the top 3 things a starting artist should do to establish him/herself online (when getting started)? Give us one or two examples/secrets to build a buzz online that you’ve seen artists use successfully. (creative tips/examples, please)

1) Write remarkable songs that people will remember, want to hear over and over again and tell their friends about.

2) Stick to recording your songs that are in ONE genre and know what that genre IS!

3) Gear all of your marketing efforts at being just one thing. Don’t try to be all things to all people because you end up being nothing at all.

What are the top 3 things an artist can do to sell triple the product……online and at gigs?

Online: see answer above

Gigs: Make sure you have somebody who is NOT in the band manning the merch table

Make sure you collect email addys, and giving away a free download or something else is a great incentive.

In his excellent book, “Influence,” Dr. Robert Cialdini proves that people are much more likely to buy from you if you give them something first. They feel obligated! So give them something they’ll perceive as being valuable, then ask for the sale.

People/customers are MUCH more likely to buy when you ASK for the sale.

Offer a deal if they buy two CDs - people usually come to clubs with another person, probably a like-minded person. If you give them a great price on buying two, then they’ll be less likely to buy one and copy it. Offer CD and t-shirt bundled prices.

What are the top 3 things artists do wrong on their own website?

Most artists try to make their website look creative and artistic, but forget basic marketing principals like focusing on one or two things on the homepage and making them very prevalent. It’s all about easy navigation and asking and directing your visitors to do what you want them to do.

Many people who build or own websites focus on what they think is important, not what the consumer might think is important - ie; tell me in a short phrase what I can expect this artist to sound like… what genre, reference. another artist to make it easy for them.

Show testimonials from happy fans and customers!!!!!!!!!!

What are the top 3 things artists do wrong when marketing themselves in general?

They don’t take the time to learn anything about marketing PERIOD - read a book or five.

They often think the Internet is the answer to everything, but if they applied good foundational marketing techniques TO the Internet, they’d get a much better result.

Learn how to communicate effectively by learning how to write great marketing copy, especially headlines!

How would you recommend that artists use video online?

Capture emotion whenever possible. Emotion sells music. Fill the frame as often as you can with close ups as most people will see the video on a small, youtube or mobile size screen.

Make sure to market your CD or downloads by ending the video with a nice big URL!

3 tips to create a decent quality video on the cheap for online usage?

Go to the nearest college with a film department. Give your best song to every student you can find and include a card with it that says; “Needed, one brilliant film student to direct and shoot my music video. Please send resume, credits and a short paragraph telling me why you would do a better job than everybody else.” Put THEIR egos to work for you.

Take advantage of the bad economy and use unemployed people as extras - they’ll be happy to get some work.

If all else fails, buy a Flip HD video camera for cheap at a pawnshop and get creative. Study up on what makes a great music video before you begin production. Don’t think that you’re such a genius that you shouldn’t take advice from seasoned pros and have a plan before you begin.

What are your top 3 tips on how to use Twitter - how often and what to tweet?

1) Know your audience and give them what they want, not what you think they want.

ie. Tell them how many takes you needed to nail the vocal on a song or other insider trivia, not where you ate lunch today.

2) 2 or 3 tweets a day, unless it’s a show day… then more frequently to build excitement.

3) Ariel did a great job at the TAXI Road Rally this year of tweeting when her panel was, with some more frequent reminders about its location as it got closer.

Give us 3 tips on how to get social media followers/friends to…

…give you their contact info. -

give them something they VALUE in return.

…buy your music online. -

Write great songs and deliver amazing performances so people will WANT to buy your music PERIOD!

Make sure your potential buyers know what other people think of you. Our purchasing decisions are heavily influenced by like-minded people whose taste we respect.

Find a way to deliver a unique selling proposition so buyers know what you’re offering. “Steely Dan does hip-hop”… you know what to expect and can decide if you’re interested.

…come to your gigs.

Do something at your gigs that nobody else does that will get people talking, eg. randomly invite audience members to join you on the road for a week. Invite them to the studio to mix a song. Let them sing backgrounds or do handclaps… get your audience involved… create a bond.

What are the top 3 things you should do in your email communications to fans?

Learn which fonts and font sizes work best because they are easiest to read, which colors work best, which layout works best, and create a user interface that delivers one central message and makes it easy for the reader to take the action you want them to.

What are the top 3 things you should NOT do in those email communications?

The opposite of what I just stated above.

What are the best/most effective ways to engage with/communicate with fans in 2010? (please list them in order)

Make memorable, easy to digest music that people actually want to hear.

Be in all the right places, maintain those locations daily, and do something remarkable that gets people talking about you. But if you don’t have remarkable music to begin with, they won’t talk about you for long, if at ALL.

Are there tricks to “getting discovered” online? If so, what are they?

I don’t think they are tricks so much as a well thought out plan. The problem is that most musicians don’t research plans that have worked for others, they don’t use a plan even if they find one, and they rarely follow through past the point of initial excitement.

The people who are successful DO research, DO make plans, and DO follow through on the execution. If you’ve ever wondered why some artists build a following and others don’t, there’s your answer.

PS…. I DO many musicians who do covers and post them on video sites like YouTube. When people search the real song by the REAL artists, they discover the cover artist as well. some people have built huge subscription bases by doing that. THAT one is a “trick,” not necessarily a treat

Michael

Record labels, music publishers, production music libraries and music supervisors haven’t traditionally accepted music submissions directly from songwriters, artists and composers. Unsolicited music was unfiltered, often a waste of their time, and rarely targeted to fit their needs.

TAXI changed all that starting in 1992. It was the first company of its kind - a true game-changer for independent musicians - TAXI has been the industry leader ever since.

I just got off the phone with a Film and TV composer from Dallas, Texas who inspired me to write this. He said, “I’ve been to your website and the websites of three other companies that look like they do the same thing and I don’t see any huge differences.” Maybe I’m not doing a great job of communicating exactly how TAXI is different and better than our competitors.

Immediately after finishing the phone call with the composer, I went to TAXI.com and confirmed that he was absolutely right! Our Website doesn’t do a great job of telling you why TAXI is better and different. Blogging about those differences seems like the quickest way to get the word out. Here goes!

• TAXI offers a Money-Back Guarantee.

None of the other companies have a guarantee at ALL!

• TAXI gives you TWO FREE tickets to a Best-In-Class convention for songwriters, artists and Film & TV composers.

None of the other companies do.

• TAXI guarantees that every song you submit will be heard by a TRUE industry professional specializing in the genre of music you submit.

None of the other companies do.

• TAXI gives you detailed feedback on your music from heavy-duty music industry professionals.

Other companies do not.

• TAXI only presents you with opportunities to submit your music to top shelf, pre-qualified companies.

Other companies do not. In fact, some of the other companies split your submission fees with the company or individual running the “listing.” That could encourage them to run a “listing” just to make money from their cut of the submission fees, whether or not they actually need the music.

• TAXI has multi-decade long relationships with executives from nearly every Major Record Label, Top Music Publishers, and hundreds of Film and TV Music Supervisors and publishers who specialize in Film and TV music.

None of the other companies can say that.

• TAXI has successfully helped thousands of songwriters, artists and composers get record deals, publishing deals and Film and TV music placements since 1992.

None of the other companies can say that.

• TAXI fosters transparency by providing its members and the general public with a public forum where they can post unedited comments. We’re not afraid of the truth!

None of our competitors have a public forum. Some had them, but took them down.

• TAXI is a member in good standing with the Better Business Bureau and we’ve enjoyed an Excellent rating during our entire tenure.

None of the other companies can say that.

But let’s talk about you and your situation. If you’ve got the time and the know-how, you can often submit music to the music industry yourself.

Ten Steps to Submit Your Music to Record Companies,

Publishers and Music Supervisors.

Step One:

• Identify the type of artist or songwriter you are; Rock, Pop, Country, Singer-Songwriter, Urban, etc.

Step Two:

• Research which companies typically sign artists or use songs in the genre you fall under.

Step Three:

• Identify the person (s) at the company who signs the type of artist you are or uses the genre of songs you write. Don’t waste your time pitching your material to people or companies who are not in your genre. They have no use for your music, and even if they love it, they’re not the right people for you if they don’t work with your genre.

Step Four:

• Find the phone number or email addresses for the people you’d like to pitch your music to. Organize a database or spreadsheet with all the contact info for the record labels, publishers and music supervisors by category. Systematically cold call or email them and request permission to submit music to them.

Step Five:

• When submitting your music to them, make sure to be brief and concise. They’ll be more likely to listen if you’re direct, to the point and give an accurate description of your style when you submit your music.

Step Six:

• Don’t just make one submission of your music and wait to hear back before you make more. Keep identifying new targets and systematically submit music every day of the week. The faster you submit your music, the more likely it is that you’ll make that one submission that gets somebody in the music industry excited.

Step Seven:

• If Country is your genre, don’t submit your music to New York or LA record labels or publishers. If you are a Film composer, chances are you’ll do best by submitting your tracks in LA and maybe New York. In other words, use common sense when making your music submissions. It will save you lots of money and get a better result.

Step Eight:

• Be very patient and accept reality! Most people will not give you permission to submit music to them. Most music industry executives are not sitting at their desk anxiously awaiting your submission. What is crucially important to you is just another person submitting music to them.

Step Nine:

• Don’t pester them once you’ve submitted your music. You’ll only make them hate you. If they love your music, they’ll contact you. If they don’t love the music you submitted, you will probably never hear from them. They’ve got better things to do than tell you why they didn’t love your music and what you can do to make it better. If you do get a chance to ask them why they didn’t like it and what you can do to improve, they’re likely to refer you to TAXI.

Step Ten:

• Write more songs and record more music. Getting a record, publishing or Film/TV placement isn’t typically a one shot effort. Most industry pros would tell you that it took them YEARS of doing exactly what I’ve spelled out in steps one through nine. Don’t give up to quickly. It’s almost always the person who hangs in the longest that gets the reward!

Whether you were there to learn more about getting a record deal, placing your music in films and TV shows, or composing for video games, it was all there for the taking at TAXI’s Road Rally last weekend. What did our members think of it?

From our forum:

There is no way I could possibly ever put into words just how much this Rally, my 2nd one, meant to me. Saying “Thank You” just doesn’t seem to be enough. I’m still humbled and honored to have been given the Inspiration Award. It’s going to get a prominent placement in my studio for sure! My wife was just as excited about it as I was.

For anyone who’s reading this and wasn’t able to make it to the Rally yet, let me encourage, if you’re serious about your musical career, whether it be an artist or film & tv composer, stop reading this right now and start putting a plan together as to how you can make it to next year’s Rally. You’ve got nearly a year left to save up the money for the airfare and hotel. Remember, the event itself is FREE. I PROMISE you, if you’re serious about your career and you’re willing to invest the time & money it takes to be successful, then there is no better investment you can make as far as I’m concerned than to attend the Road Rally.

I don’t get paid to say that, nor do I need to get paid to say it. TAXI works and the Road Rally is a HUGE part of the picture. I’ll say it again, if you’re serious about your career, and I mean TRULY serious, then do what you have to do to make it next year. The amount of information you can learn, the connections you can make, and the opportunities you will have to GIVE BACK are truly priceless.

- Big Blue

Two of the weekend’s highlights were Hit Songwriter/Producer/Artist Jeffrey Steele being honored with TAXI’s Lifetime Achievement Award and his performance that followed and Hit Songwriter/America Idol judge/Warner Bros. Records V.P.of A&R Kara DioGuardi doing live makeovers of TAXI members Robyn Newman, Chase Thompson and Anthony Snape. To see more photos and highlights click here!

Jeffrey Steele, TAXI's Lifetime Achievement Award honoree performs a medley of his hits after receiving his award.

American Idol judge and Hit Songwriter/Producer, Kara DioGuardi enjoys TAXI member Anthony Snape's inspired performance at TAXI's convention.

Major Labels, Indie Labels, Pop Labels, Rap Labels, Christian Labels, and Country Labels are actively looking for new artists every day.

It’s easy to think that songwriters and artists can make it on their own with all the great self-promotional tools and opportunities on the Internet. But looking at this week’s  Billboard Top 100 Chart, I can’t find a single band or artist that has become successful on their own using the Internet as their only form of promotion. Yes, the Internet is a large piece of the music promotion puzzle, but it’s a piece, not a panacea.

Companies that sell music promotion tools and advice are cropping up everywhere you look. Can they help? Certainly some of them can, but as part of an artist’s overall marketing strategy. I have yet to see any music-marketing tool or music promotion plan that’s a magic bullet that by itself will deliver stardom on a silver platter.

Taylor Swift, Lady Gaga, Beyonce, Breaking Benjamin, Black Eyed Peas, Foo Fighters, Weezer and virtually all of the other artists I just looked at on Billboard.com have found fame and built their careers in the music business doing it the old fashioned way - writing or finding hit songs and signing with record labels.

Sure, it’s possible to have a video that goes viral on YouTube and drives sales on iTunes and other music download sites. But those events are few and far between. If you thought the odds of getting signed by a record label were slim, try and name ten acts that have had Billboard, chart-topping success based on the Internet alone.

The Sick Puppies were exposed to millions of people worldwide when their song, All the Same, was used in the massively popular Free Hugs videos. But they didn’t hit the Billboard charts until they had a veteran artist manager and Virgin Records behind them as their record label. Maybe that’s the magic formula for music promotion and marketing - simply create a video that goes viral on YouTube. That’s easy, right?

But the Sick Puppies are certainly an exception, and far from the rule. Even with millions of people listening to their song every day, exposure on Oprah, and just about every other media outlet worldwide, they still recognized that they needed a record label to take them to the next level.

How long have you been on MySpace? How about iTunes? Twitter? Facebook? How many sites do you have your music or your musical “brand” on altogether? How long have you been working the Internet music promotion thing with no substantial results? Is there a lesson to be learned?

Look again at the artists on the Billboard charts, and I think you’ll agree that there is a huge lesson staring us all in the face. Those artists are all signed to record labels. Illegal downloading may be killing the labels, but it’s been a slow death. More than ten years after Napster sprang up and illegal downloading began, Major Record Labels and top Independent Record Labels still look like a pretty smart option until somebody comes up with that magical silver bullet for artist promotion that millions of bands, artists, and songwriters have been waiting for.

Michael Laskow is the founder and CEO of TAXI, the world’s leading independent A&R company. He is also a multi-platinum engineer, record producer, and lover of great songs and talented artists.

TV Music Licensing pays songwriters and composers differently than Film Music Licensing does. Most songwriters don’t know that, and they ask me the question pretty frequently! The short answer is “yes, it pays differently,” in the U.S.

In the United States, composers of scores, background music and featured songs do NOT get paid when the music is played in a movie theater. In other words, there’s no back end, no performance royalty for music played in theaters. But there IS a performance royalty for theater play in many, if not most other countries.

So, while you won’t get an ASCAP, BMI or SESAC check for U.S. screenings of a movie with your music in it, you WILL get a check from your Performance Rights Organization months down the road from screenings outside of the U.S. Those checks are often slow in coming, as they need to go through the accounting systems of the foreign PROs, then go through the accounting system of your U.S. PRO.

BUT, you WILL get paid for your music if it’s in a Film that airs on a TV network in the U.S., so all is not lost. If you have music that ends up in a film that’s a huge hit, and gets tons of play on major and cable networks, month after month, year after year, you will see some nice checks hit your mailbox from those.

I’ll get into the difference between pay scales for music in cable vs network shows in another blog post. That’s a complicated matter and will need more time than I’ve got at the moment.

Talk to you soon,

Michael