Music industry contacts are most useful if you know how to use them correctly. Sadly, many musicians don’t take the time to learn what to do if they make a new contact in the music business. Hard to come by, easy to blow the relationship!

There are hundreds, maybe thousands of website that give out free listings of music industry contacts, along with contact information for the A&R people at record companies, music publishers, and film & TV music supervisors. While it’s great that you can get your hands on that information, there are some critical things to think about before using that information.

First and foremost, unless the list of labels, publishers, and supervisors is updated monthly, chances are that much of the information is old, and therefore useless. Check to make sure the list you want to use is fresh and updated often.

How to Use Music Industry Contacts the Right Way!

The first thing to consider is what you want to do with your music. Most musicians will answer, “I just want to get my music heard.” That’s great, but heard by whom, and for what purpose.

Do you want a record deal? More specifically, do you want to get singed by an Indie Record Label or Major Label? Independent labels are known for having smaller artist rosters, and giving more attention to each artist. They also have much smaller marketing budgets for their artists, and often have to rely on grassroots marketing techniques, and the landscape is unbelievably crowded with songwriters, bands, and artists who are all clamoring for attention from the same music buyers.

Major record labels have more money for marketing and promotion. They also have larger staffs of radio promotion people, field sales reps, and product managers. The downside is that the major labels are well known for dropping artists if their record doesn’t get significant radio airplay in the first few weeks.

You should also look at what genre of music the labels you’re reaching out to are best at marketing. Don’t send your Country demo to a Hip Hop A&R person. Do your homework and find out which A&R people at which labels are the right people to submit your music to.

Film and TV Music Supervisors Are the New “Rock Stars”

Many musicians have given up on the idea of getting a record deal altogether. Instead, they’ve turned their attention to the film and TV music market because it appears to be an easier route to make money with your music. Because there has been a huge increase in the number of people who wan to license their music to TV shows, films, and movie trailers, music supervisors have become the hot ticket.

And while you can get free lists of music supervisors, the same rules apply when submitting your music to them. You need to know who they are, what shows or films they need music for, and what kind of music they need. Do your homework before you reach out to them!

One Chance to Submit Your Music

You may only get one chance to contact a music supervisor, so don’t waste their time with sending them music they don’t need. If they work on a TV show on the CW network, they’ll probably need songs that skew to a younger audience. If the music supervisor you’re contacting mostly works on sports programs, they’re going to need testosterone driven Rock or Hip Hop, not love songs.

If you want to submit Dubstep to a music supervisor, chances are you’ll do well by submitting to supervisors who work on film trailers, because Dubstep works well for the quick cut projects that are common in the Hollywood blockbuster film trailer world.

In any case, it’s key to remember that just like A&R people at record labels, Hollywood’s top music supervisors have very limited time to audition music, and they only want to hear the very best music targeted at their immediate and most pressing needs. Because there are so many free lists of music supervisors, they are getting bombarded with independent songwriters, bands, and artists who want their attention. Those who are best prepared and submit the right kind of music are the few that will get a chance to get their music heard.

The Best Way to Get Your Music Heard…

While free lists of contacts in the music industry are great because they have no cost involved, the truth of the matter is that most people in the music business only want to hear music that comes to them from reputable sources who have already filtered the music before it gets to them. It saves time and trouble, and in today’s world, time is at a premium.

TAXI has been serving record labels, music publishers, and music supervisors for more than twenty years. The reason they come to TAXI to find the best indie artists, songwriters, and composers is because the music we submit to them is always pre-filtered to fit their exact needs at any moment in time.

As a matter of fact, TAXI publishes music Industry Listings that are updated lists of exactly what people in all facets of the music business need every day. Thousands upon thousands of songwriters, artists, and composers have been successful using TAXI. Click here to see their success stories in their own words.

Click here to learn how TAXI can help you target your music submissions better than just using a free list of music industry contacts!

Want to see what record labels, music publishers, and Film and TV music Supervisors need right now? Click here!

Ken Eichler “watched” TAXI for 10 years before he became a member. He had his doubts. Do any of these questions sound familiar?

“Is TAXI legit?”

“Do I have the right music?”

“Should I build up my catalog before I join?”

Ken Finally Joined After Waiting 10 Years, and This is What Happened…

“Since joining TAXI I have signed hundreds of pieces of music with top-name licensing companies, which has led to hundreds of placements in the past few months alone.”

If Ken hadn’t waited for 10 years to join TAXI, he could have had thousands of placements by now. Read this unedited excerpt from an interview with Ken we recently ran in our newsletter:

What was it that made you become a TAXI member?

Curiosity, hope. The concept of TAXI seemed really good to me. I just wanted to make sure it was legit before I dropped $300 on it.

How has TAXI helped you and your career?

Hmm. Let’s start with hope. Without hope, it is hard to focus on a goal and my goal was to resurrect my career in music after a 25-year hiatus.

TAXI gave me hope that serious industry insiders would actually consider my recorded music. Then TAXI gave me information-better yet, a real education-and knowledge is power!

The TAXI Road Rallies [TAXI's FREE, Members-Only Convention] have been amazingly worthwhile-so many experts sharing so much experience-I never stop trying to learn and improve, and TAXI has been perfect for me in that respect. TAXI’s critiques have also helped me to produce music that is better suited for TV and film.

Since joining TAXI, I have signed hundreds of pieces of music with top-name licensing companies, which has led to hundreds of placements in the past few months alone.

What musical/career achievement are you most proud of?
That’s a hard question, but I recently got one of my tunes placed in the opening scene of a Criminal Minds episode. That was definitely a rush.

What has TAXI taught you about the music business?
How much time do you have? Seriously, a lot! Way too much to fit into a couple sentences.

What are your goals for 2013?
To write and record more music, increase my catalogue, generate more income from music, and to have fun doing it.

And Here’s the Genius in Ken’s Plan!

Now, instead of watching from the sidelines while other TAXI members are having success, Ken is using TAXI to create the right music. And it’s working for him!

A Few Musicians Have Earned Millions Because They Joined TAXI.

Others quit their day jobs and earn their living making music now. Many are just starting out-making a couple hundred here, a few thousand there. But they’ve all done three critical things you probably haven’t done yet.

• They didn’t wait until their music was “ready” before joining TAXI. They used our expert feedback to get ready.

• They didn’t wait until they “had more music.” Instead, they used TAXI to build a catalog of the right music.

• And they all moved past that fear that makes so many musicians “watch TAXI” from the sidelines for years before joining.

What is That Fear?

It’s that insidious little voice of doubt that lives deep inside the heads of most creative people.

“Am I good enough?”

“Is my music ready?”

“What if I’m ‘rejected?’”

You’ve Been Robbed…

That voice of doubt is a “procrastination generator,” and I’ll bet it’s already robbed you of your dream of doing music and nothing else. Stephen Baird joined TAXI, and here’s what he wrote (unedited!) in a recent email:

Hey Michael,

I joined TAXI in September of 2007 with nothing more than Reason 2.5 and an old Roland keyboard from the 1980′s.  Until joining TAXI, I knew nothing about the Film/TV/Advertising market. Actually, I was quite the newbie.

Now, nearly 5 years later, I’m in my second year of making a full-time living writing music for TV Shows, Commercials, Promos, and Movie Trailers. Nearly every penny I’ve made can be traced back to TAXI-either through my music being sent to a company by TAXI, or through people I’ve met at TAXI’s free convention, or on the TAXI forum.

I’m really quite ecstatic with the way things have turned out. Not only am I making as much or more money than most of my friends, but I’m doing so via a career that I have dreamed about since I was a child.

If it weren’t for TAXI, I wouldn’t have a music career. I can’t even imagine what my life would be like right now.

So, I’d just like to thank you for offering such a great service to aspiring musicians, composers, artists, and bands.  Not just for the opportunities offered through TAXI’s Industry listings, but for creating such a great environment for musicians to learn and grow.

You’ve definitely changed my life, and for that, I am forever grateful.

Stephen Baird

Don’t Expect a Miracle…

I want to be frank with you. It’s not likely that you’ll join TAXI and start making money right off the bat. Like any other business, raw talent usually isn’t enough. You need to invest your time and energy to make it work. And you need to be patient!

Are Ken and Stephen Exceptions or the Rule?

Click here and judge for yourself!

And click here too!

The bottom line is our most successful members all seem to do what I’m about to tell you.

Three “Secrets” That Improve Your Odds…

1.     Carefully read all of TAXI’s Industry Listings and be selective when you pitch your music.

2.     Use the feedback you get from our experts.

3.     Become part of the community on our Forum.

And Here’s a FREE Bonus!

Watch TAXI TV every Monday. Nearly every successful member I met at our recent convention told me they regularly watch TAXI TV. You can watch the live shows and all the archived shows here!

Another FREE Bonus!!

In case you didn’t notice, virtually all of our successful members come to our FREE, members-only convention (the Road Rally) every year. Click here to see what you’ve been missing.

Do TAXI members meet industry people and sign deals at the Rally? Again, you be the judge after you click here.

Are You Ready to Get Your Music Heard?

If you’ve read this far, you’re obviously serious about doing something with your music. You have a couple choices. You can sit on the sidelines another year, or you can start NOW, and learn what the music industry needs and how to give it to them!

Remember Ken Eichler, who waited ten years before he joined TAXI, then got hundreds of placements in a few months?

Make sure you don’t waste another year. Start down the path of making money with your music right now!

P.S. Need a refresher course on how TAXI works? Click here!

Songwriters and artists who want to license their music for film and TV placements, get record deals, publishing deals, and placements in TV commercials and video games have been using TAXI’s A&R service since 1992 for good reason—TAXI has more REAL connections with record labels, music publishers, and top music supervisors than ever.

Why? Because TAXI has been around for more than twenty years, and we filter the music before it’s pitched to the A&R reps, publishing companies, and Film & TV music supervisors.

Why Music Filtering Matters

With millions of songwriters, artists, and composers all trying to pitch their music to what is a relatively small group of professionals in the music business, there has been an ever-increasing deluge of unsolicited music. People who license music, look for artists to sign, and songs they want to publish, just don’t have the time to listen to music that isn’t on target for what they need at a particular time for a particular project.

It’s Not Just WHO You Know…

Knowing somebody at a record company, publishing company, or a music supervisor working on a TV show, Hollywood feature film, or a TV commercial is only half—maybe even a third the battle. Knowing WHAT they are looking for and WHEN they are looking for is the real key to success.

And that’s what TAXI does better than anybody!

TAXI’s Industry Listings were nothing short of revolutionary when the company first opened its doors two decades ago. Though many other so-called music or A&R services have tried to copy TAXI’s business model, the thing that makes TAXI the stand out firm is it’s A&R team. The TAXI imitators don’t have experts filtering music.

Having genre specific experts who pre-screen the music is what has kept Indie Labels, Major Labels, Music Supervisors coming back to TAXI time and time again. And those long-term relationships have translated into thousands of TAXI member songs being licensed for TV shows and films, thousands of publishing deals, and yes, some TAXI members have even landed record deals with major and indie labels, and a couple of number one Billboard hits and platinum records.

“Is TAXI a Scam?”

Ironically, you’ll still find that question posted on message boards and forums all over the Internet. Though TAXI has an A+ rating with the Better Business Bureau, has a success rate that remains unmatched, and success stories posted all over the Internet, there are those who remain unconvinced.

TAXI isn’t for everybody! Our service is for songwriters, artists, and composers who are looking for commercial success, not a pat on the back or stroke to their ego. While some believe that TAXI is only for musicians who write and record music that is targeted ONLY at the Billboard Hot 100 Chart, the opposite is often true. Most of the songs licensed from TAXI members are in genres and styles that won’t be found on that chart at all!

What Kind of Music Gets Licensed Most Frequently?

If you want to know the answer to that question, the quickest way to find out is to simply sign up for TAXI’s Industry Listings before you join! It’s free, and you’ll get an updated list of what music supervisors, music libraries, record labels, and publishers are looking every two weeks. You’ll also daily alerts when music supervisors, ad agencies, and Hollywood movie trailer companies are in a time crunch and need something in hurry.

If you don’t see a lot of requests for the type of music you make, then don’t waste your money on TAXI. Truthfully, we don’t want you to join TAXI if you aren’t going to get any benefit. We like happy customers!

And if you see posts on music blogs and forums from people who weren’t happy with TAXI, please take a moment and listen to their music and ask yourself, “Would I license this music, would I sign this artist to a record deal, or would I pitch this music if I were an industry professional?”

If you wouldn’t, maybe that’s why that person has posted a negative review of TAXI. It’s always easier to blame a music service than it might be to admit your music isn’t ready for prime time.

TAXI Success Stories

Check out this forum thread where TAXI members post their success stories. These are unedited and in the members’ own words. What is the difference between the successful TAXI members and those who post sour grape stories or bad reviews of TAXI’s music service?

The music they make and how well (or not well) they targeted their music at TAXI’s opportunities. Everything else is the same!

Both successful and unsuccessful TAXI members use EXACTLY the same service, have EXACTLY the same opportunities for their music, and get heard by EXACTLY the same experts on TAXI’s A&R team. Only the music and what it is pitched for are the variables.

Is TAXI For You?

Yes, if you want to get your music heard by true experts, and you’re looking for Film and TV music licensing deals, a record deal, or a publishing deal. No, if music is a hobby, you’re not willing to listen to feedback, and you aren’t looking for some form of success on the commercial side of the music business.

TAXI isn’t for everybody, but it may be just what you’ve been looking for if you want to make money with your music!

“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!

“Is TAXI Worth it? Is TAXI REAL or is it a Scam?”

I saw that question posted on a forum about an hour ago. I’m not sure why people are still asking that question after nearly 19 years in business and thousands of success stories on the Internet. I know that some of our less than scrupulous competitors create fake posts to make themselves look better. I know that we have some sour grapes folks out there who make it their business to denigrate TAXI as a form of retribution because their music didn’t make the grade.

What I don’t understand is why more people don’t just check out our forum and ask our members if they are having success with TAXI. The evidence is overwhelming!
These are just a few of the thread starter titles on our TAXI Success Stories forum. BTW, all of the forum posts are in the members’ own words and unedited:

• TV theme & 450+ placements… // Thank you!
• Over 90 placements, a TV Theme song and now a “Go To Guy”
• First check from a deal through TAXI
• YET ANOTHER TAXI PIECE, ENDS UP IN AN AD CAMPAIGN

“Each day it seems like I’m one step closer to making this dream of being a full-time composer a reality so I just wanted to say THANK YOU again to Michael and the rest of the TAXI staff for all they do.” Barry French

“Fall of 2009 I had my first deal because of a TAXI connection and signed with a producer who, among other things, supplies music for several day time talk shows. Some few months ago I landed the theme for one of those shows together with my friend and colleague David John. We got to write a lot of additional music for the show as well and within the first two months of the show airing we have had over 450 placements total. It just keeps growing.” Lydia Ashton

If you’ve been on the fence about joining TAXI, then you really need to look at this forum and hear the success stories directly from our members” mouths. You’ll quickly find out that TAXI is most definitely worth it!

“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!

Learn exactly what Broadcast Quality Music is and what it sounds like. Hear examples and see TV commercials that have really simple one-instrument music beds that earned their creators thousands of dollars. Virtually anyone with a home studio can easily make Broadcast Quality Recordings.

Also answering these questions:

• Can I earn money with Instrumentals and Songs?

• How long should my tracks be?

• What are “Universal Lyrics?”

• Do my tracks need to be “Mastered” to be competitive?

• What is a “Buttoned Ending,” and do I need one?

• How much money can I make?

• What do I need to do to start earning money from Film and TV Placements?

It’s a new year, but I’m going to revisit a topic from last year… any year for that matter.

Can you record Broadcast Quality Music if you have a limited home studio? Yes, but it depends what you’re recording. If you’re trying to do big, lush Orchestral tracks, you’re going to need outstanding virtual instruments or samples and lots of tracks.

If however, you want to start out with some simple ideas that can and very well should get some Film and TV placements, you’ll be surprised by how little recording gear and instrumentation you can get by with.

Imagine a chase scene in a Dukes of Hazard type show. Can’t you just hear a Jew’s harp melody and a washboard percussion track? How hard would that be to record? Just about any microphone would work fine, but I’d recommend a Shure 57. Everybody has one, they’re pretty cheap and they handle a lot of level, which I’m sure you’ll get from that washboard!

Bang out a simple “Hillbilly” melody and rhythm, lay down two minutes and give it a buttoned ending, and bammo, you’re good to go! Make sure you’ve got nice, healthy levels while recording and get a good blend while mixing and you may have just created a contender for a Production Music Library and eventual placement in a TV show or movie.

Want to try another? How about a scene in biker flick? Imagine a hot, dusty scene outside of a biker bar in Noweheresville, Nevada. The head of the biker gang just came out the front door, only to notice his 1964 Harley had been knocked over and is on its side, spilling gas.

I’d go for a haunting slide guitar part combined with a distorted harmonica to add some tension.

Want to hear a great example of exactly this type of track? Here’s one done by TAXI member Jeff Greenleaf. It recently got a TV placement in MTV’s Nitro Circus. Here’s his forum post about the placement and a link to the track.

Harmonica on Nitro Circus

I just heard 2 of my harmonica/slide guitar songs on MTV’s Nitro Circus episode 9 (season finale)!
They played both songs in entirety, which was very cool.

I’ll attach the songs and if you want to watch the episode it’s in beginning of part 2 (from 5:27-6:14 and then 6:40-7:10).

Songs: http://www.reverbnation.com/tunepak/2163400

Video: http://www.mtv.com/videos/nitro-circus- … list.jhtml

Happy Holidayz!

And then there is this little beauty! TAXI member Bob Mete had a solo piano track (that he wrote thirty-five years ago!) licensed by a major fragrance company for an entire year on a worldwide basis. The licensing fee alone on this was $15,000. Go Bob!

Yes, the licensing fee was $15,000 for a solo piano piece! Can you record a solo piano piece and make it sound good in your home studio? Read Bob’s story here.

I hope I’ve inspired you to get off your tush and start listening to more TV to see how many simple tracks are used every day. They’ve got to come from somebody, and that somebody might as well be you!

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!

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