Ask Us Anything: Creating Music for TV, Film & Ads - Ep 15

We did a no-holds-barred Q&A, any questions you have about writing or placing music into TV, Film, Ads and Video Games. As usual, we had a panel of experienced execs and creators available to answer your questions.


Major Themes
It’s important to read the fine print when you’re given a contract. Make sure you understand what you’re about to sign. [27:49]
Treat people like humans. Having genuine conversations with people can sometimes get you a lot further than giving a pitch for your music. [42:47]
More you you educate yourself about mixing and engineering your music, the better you’ll be at communicating with other engineers and ensuring that your songs have a consistent sound quality. It’s also important to get a copy of the session early on in the process because it saves you time in the future. [58:53]


Audience Q&A
Q: Some of us have alternate artists identities that we release sync songs under when they’re in different styles. How do you refer to these different artist names that you call in different co-writing collaborations? [7:48]
Stef [8:53]
Deraj [10:47]
Q: I’m curious to hear your thoughts on the A.I. movement that’s going on with how they’re using computers now to create music? [12:49]
Eric [13:22]
Andy [14:48]
Amy [15:48]
Deraj [17:05]
Q: What is the difference between being independent with a sync agent versus working with a collective? [18:30]
Stef [20:13]
Q: How do you know if you can trust a publishing administrator? [26:28]
Amanda [26:40]
Stef [27:49]
Amanda [29:19]
Q: Could you advise people on how to approach working with music libraries and certain publishing houses and still be as close to one stop as possible? [29:52]
Eric [32:09]
Stef [35:00]
Andy [37:28]
Stef [38:27]
Q: Is there anything you guys would recommend for a startup sync agency? Can you shoot yourself in the foot by reaching out to a music supervisor before you have a connection or a plug in the industry? [39:20]
Jess [40:27]
Q: (Follow up question) Jess, would you recommend establishing a relationship as a fan or someone who’s trying to get to know you early on without pitching your music? [42:05]
Jess [42:38]
Stef [43:56]
Eric [44:10]
Q: I reached out to a music supervisor and they loved my music, but they asked if I have anything more current. We’re working with him on new stuff now, but I was wondering if there was any point in trying to pitch my older stuff to other people? [45:30]
Jess [46:10]
Andy [46:55]
Q: [57:40] How would you give us guidance when it comes to working with new mixing engineers?
Eric [59:07]
Stef [1:00:26]
Q: What is it like in the day of a life of a music supervisor or a music sync house? [1:02:08]
Andy [1:02:46]
Jess [1:08:09]
Q: (Follow up question) Andy, can you tell the room what quote request is? [1:04:17]
Q: Steve, can you introduce yourself and tell what you do? [1:09:36]
Q: What I need to have in place [1:13:49]
Q: I’m in contact with a start up agency that’s interested in my music. I’m in contact with a videographer was wants to put a video to my music as well and was wondering what all I would need to have in place for that?[1:12:43]
Stef [1:14:27]
Q: I recently got a gig for Comedy Central for a streaming service opportunity where the theme song was a show within a show. I noticed that there was an audio production company essentially working with the video production company. I was wondering how I would go about approaching the business, not necessarily as an artist to a music supervisor, but as far as an audio production company that can offer full services in orchestra or etc. to a video production company? [1:17:50]
Stef [1:18:50]
Q: Looking back at your initial success at sync, what were you doing right before things were working and what did you change that lead to you landing a placement?[1:23:58]
Eric [1:25:09]
Deraj [1:28:00]
Stef [1:29:30]
Mariella [1:31:29]

Q: I typically do America or house music, but now my music is shifting more towards Indie sync. Is there a benefit to starting a different style [1:34:08]


Q: How long does it usually take for a composer to get there first placement?[1:39:53]
Andy [1:41:00]
Stef [1:43:12]
Q: Andy, for those in the audience, if somebody wants to reach out to you as an artist, how would you like to receive communication? [1:45:14]
Andy [1:45:26]
Q: If you get a placement and they come back and ask for more music, what’s a reasonable turnaround time? [1:48:46]
Eric [1:49:50]
Stef [1:51:32]
Q: How do I get a brief that has a quick turnaround and produce it in a swift manner and still be open for changes?[1:58:07]
Deraj[2:01:05]
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