Below is a list of the most commonly asked questions I receive on a daily and weekly basis. In order to help you achieve your goals as quickly as possible, please take a moment to review the answers to these questions. If you still need more information, please reach out to me, and I will get back to you as soon as I can.
Thanks for your interest in meeting with me about licensing. I get this request a lot. As a result, I have three options available. The first one is free:
• My Blog. 99% of nearly everyone’s questions are already answered in the blogs I’ve written and Posted to This Site. These were written for the sole purpose of giving you some action steps that you can take to immediately start licensing your music.
• Consulting. I do a limited number of consultations on Tuesdays. My minimum is a one-hour consultation where I'm available to help you on your journey and answer any questions you may have. You can learn more and book a session on my Consulting Page.
• Master Music Licensing Course. This program is the full music licensing framework from start to finish. With Over 40 Lessons and 20+ Hours of Bonus Content, along with Access to the Private Music Licensing Mastermind Group, I am actively involved with, and available to, every single member enrolled in the Master Music Licensing Course.
Thanks again for your interest. I hope this is helpful to you.
Since I don’t know the first thing about your specific catalog of songs (style, genre, etc), it's impossible to recommend a particular supervisor or library that your music is best suited for. I would actually be doing you a disservice by simply saying, 'send your music here.'
Instead, let me show YOU how to find the ideal end user for your music. This will allow you to retain control through the entire process of licensing your songs.
If you want to earn a consistent income with your music, then licensing is absolutely right for you. It's one of the very last outlets we as musicians have available to us to profit from our music, and the income it generates far outweighs that from streaming.
However, when you’re licensing your music, it’s essential to realize that you are NOT working in the Music Industry. You’re working in the TV Industry, the Film Industry, the Commercial/Ads/Promo Industry, and the Video Game Industry.
So, how do you avoid giving up the rights to your music? By understanding how these other industries utilize your music. You must know the difference between a Sync License, and a Mechanical License, Songwriter & Publisher Rights, as well as what specific clauses are essential to include and avoid in every licensing contract.
I’ll shoot straight with you, there’s a lot to this. I don’t want you to give up the rights to your music either. That’s one of the reasons why I created the Master Music Licensing Course. It’s the full music licensing framework from start to finish.
If you want to start licensing your songs, but are afraid that you’ll make a mistake and give up the rights to your songs forever, then you need to enroll in the course so you can learn all the ins and outs of this highly profitable business, while at the same time protecting your rights to your music.
I offer 1 Hour Consultations on Tuesdays via Zoom Video Conferencing. You can secure an available time where we can listen to your music, discuss your next steps, and address any questions you have.
This is a fantastic question, and I totally get it. It’s helpful to know exact amounts so you can plan accordingly, but the honest answer is it’s not that simple.
Let me start by being 100% honest with you. Even for me, it’s hard to predict how much each royalty check, or sync fee, will be. There are just too many variables that enter into the equation. But once you gain a full understanding of them, you will be better equipped to generate the highest rates possible.
Here are some links worth checking out for more on these variables:
To give you an idea of what's truly possible, I know many musicians who make multiple six figures licensing their songs.
I also know one writer in particular who will tell you if he makes less than seven figures, he’s had a bad year.
However, I also know incredibly talented musicians who don’t make anything licensing their music, because they haven't taken the time to learn what goes into successfully licensing their music. They approach the licensing industry in the same way they approach the music industry... They "blast" music supervisors with their music, and hope for the best. Unfortunately, this approach will never work in their favor.
Licensing your music isn’t a get rich quick scheme. It’s a great way to methodically build a highly profitable, consistent and reliable income stream doing what you love - writing music!
Module 4 of the Master Music Licensing Course is the most extensive series of lessons on metadata that you will ever encounter - and it’s why I’ve had so many successful students!
There’s a lot to licensing your music, and Metadata is one key component where, without it, you’re dead in the water. But remember, it’s just one component, and we spend a LOT of time on every aspect of metadata inside this course.
I know I sound like a broken record because I say this often, but when you’re licensing your music, you’re no longer working in the music industry. You’re working in the TV Industry, the Film Industry, the Commercial/Promo/Ad Industry, and the Video Game Industry. The end users of your music - music supervisors, music editors, re-recording mixers, etc. - NEED your music delivered to them in an entirely different way than what we have all become accustomed to within the traditional Music Industry, and Metadata is just one very important component of it.
I love that you're taking the initiative to contact supervisors!! But first let me ask you this… If a music supervisor called you right now and wanted to license one of your songs, could you confidently read, understand and negotiate that contract yourself within the next 2 to 3 hours?
The deadlines in the world of music licensing are very real. You’re not going to have 3 or 4 days to meet with a lawyer, go over the contract, get back to the supervisor, etc… You likely have just a matter of hours to negotiate and secure the license.
If you’re just interested in finding music supervisors who are looking for music in the style that you write, that’s very easy, just read THIS BLOG.
But let me caution you...The reason why many musicians fail at licensing their music is because they don't fully understand, or have experience with, the entire licensing process. If you’re serious about making a career out of representing your songs directly to music supervisors, then you NEED to learn the licensing business inside and out… That’s what the Master Music Licensing Course is for.
The core content of the Master Music Licensing Course is broken down into 41 Lessons spread over 7 Modules.
In addition to the core course, there's Over 20 Hours of BONUS CONTENT that you'll get when you enroll in the course. This Bonus Content is continually added to throughout the year as well.
Unlike many other courses, there is no time limit on how long you have access to the Master Music Licensing Course.
Once you enroll, you will have access to it, as well as all the bonus content, including the Private Music Licensing Mastermind Group, forever.
I open enrollment into this course 3 times a year. If you’re already on my e-mail list, and receive my weekly messages, then you will be notified during the enrollment period. If you would like to get on that list, simply download my free e-book The 4 Step Plan to Licensing Success.
The reason I only open the course a few times a year is so I can focus my full attention on every single student enrolled in the program. My goal is a 100% success rate with those who are serious about building a career with their music… There’s nothing more satisfying to me than hearing from my students that they just landed a placement on a popular TV show, film, or commercial.
I hope to hear YOUR music on TV soon as well!!
I’m sorry, I don’t rep other people’s music.
I used to fully administer my catalog of songs, but I've handed that process over to an administration company. It's been my experience that letting a company exclusively admin your music full-time, 7 days a week, is more profitable than administering your catalog on your own. Here’s why:
What you're referring to here are more mechanical rights vs. sync rights. Dealing with Mechanicals are ultimately the role of a record label, and a library is generally not taking on the role of a record label. You're granting them the exclusive right to represent your music for sync placements.
However, every single company's business model is different. This is where it's essential that you read and understand what is outlined in each contract you sign.
If you've been offered a deal, and would like to discuss the particulars of the contract, I'd be happy to go over those during a Consultation Call with you.
There is also an entire module in the Master Music Licensing Course where we dissect a number of contracts and pull them apart paragraph by paragraph. After goign through this module, you will know how to read, interpret, and negotiate every contract that you're offered.
Yes, I do all the production and engineering on my tracks. I’m a big advocate of musicians getting comfortable with the process of recording themselves. Not only will it save you an exorbitant amount of money, but having the ability to produce professional sounding recordings from your own home is creatively rewarding beyond words.
When it comes to building a career licensing your songs, my philosophy is simple… Consistent Placements = Consistent Income. There are a lot of videos and courses online that will teach you the process of recording, and with a little focused energy, you’ll be confidently up and running in just a matter of days.
If you’re brand new to recording, here are my recommendations on where to start:
Here is a video where I go through my entire recording rig and discuss the reasons WHY I use each specific piece of gear.
To clarify, the Master License has to be obtained through whoever owns the Master Recording. If you’re signed to a record label, then chances are the masters are owned by the label. However, if you’re a self-financed independent artist, then you most likely own your masters.
If that’s the case, then you are responsible for negotiating and securing the master license.
The same is true with publishing.
As with anything in the licensing realm, there’s always just a little more to it - especially when high-dollar contracts come into play. So check out the link below for a thorough answer to this question.