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Bands, Here Are the Top 3 Reasons Sync Reps Are Ignoring Your Tracks

Image via performermag.com

This article originally appeared on Performer Magazine.

If you've been trying to get master/sync licenses (syncs) for your music to be used in advertising, games, movies, etc., you've probably been dealing with a sync rep. If you're unfamiliar with how this process works, basically a rep is the person who is tasked with finding, vetting, and presenting tracks to review for a client. There's normally a brief, or deal memo, outlining what kind of track is needed, what the usage will be, and an overview of payout, etc., and most reps have a network of writers, publishers, and producers they reach out to for submissions to fill these needs.

Simple enough, right? You get an email asking for a certain kind of track, and you submit, but you've heard nothing back. Even after 20 of these "call outs," you still haven't executed a license with this sync rep.

What's the deal? Why not? Is your music not good enough? Well, it's not that cut and dried.

5 Not-So-Obvious Revenue Streams for Musicians

Image via bluesuns.net

A version of this article originally appeared on Performer Magazine.

 

You've probably seen many lists outlining revenue opportunities. Here's a little twist on not just learning what they are, but also how to utilize them. In fact, some of these may never have even occurred to you. Here are five ways you start making money from your music right now!

5 Rules for Not Pissing Off Music Supervisors

Image via performermag.com

A version of this article originally appeared on Performer Magazine.

 

I'm writing from the beautiful Hyatt in Los Angeles while finishing up details on a music supervision project for a film. This one was a beast. Over 30 cues (and six original compositions) in various styles plus less than three weeks to temp, turn, and place. Every supervision project is pressure-filled, from the challenge of artistically finding the perfect placement, to the negotiation of the master/syncs.