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Does Getting Your Music on a TV Show Really Result in New Fans? Q&A With Singer-Songwriter Patrick Joseph

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Have you ever been watching a TV show or movie and heard the most incredible song sync up with a scene perfectly? You just had to find out what song it was and who the artist behind it was. Nationally acclaimed singer-songwriter and recording artist Patrick Joseph has had fans reach out to him from all over the world from that very experience. And chances are that you, too, have heard his music while watching some of your favorite shows.

For Joseph, the process has been mostly about persistence and a bit of luck. He's had people find him randomly on the internet and sign his music, while at the same time he's been rejected over and over and over. We caught up with Joseph to learn how he's been able to get so many good sync deals, what he's gotten out of it, and what his personal "cheat sheet" for getting your music on TV looks like.

4 Types of Sync Opportunities Where Indie Artists Can Beat Out Major Label Artists

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Let's face it: there's a lot of competition out there for sync licensing deals, and when big-name artists have a hard time getting their music placed, it can be easy to think that you have no chance at placement if you don't have a major label backing you. What many indie artists don't realize, however, is that sometimes being an independent artist can actually be an advantage in the sync licensing world. Here are four types of sync licensing opportunities that are better suited to indie musicians rather than big-name artists.

3 Things Songwriters Need to Know About Writing for the Screen vs. Radio

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Anyone who grew up in the '90s or earlier will remember hearing a great song on the radio and rushing to the record store to buy the whole album. The way we listen to music has changed a lot since those days, but that experience hasn't disappeared. The difference today is that instead of discovering music on the radio, many music fans discover music through mediums like commercials, movies, and TV shows.

And just like fans, many labels and publishers have made the transition from the airwaves to the screen as well. "I look at syncs today as the new single," says Jonnie Davis, Senior Vice President of A&R/Head of Label Services for Round Hill Music. On top of that, many reviewers and critics discover new artists not by hearing them on the radio, but by hearing their songs synced in TV and film.

With this new business model, the concept of what constitutes a hit single has changed; what worked well for radio won't necessarily work for the screen. With that in mind, here are three key differences to keep in mind when writing for sync placement rather than radio play.

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

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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.

The 3 Most Common Ways to Screw Up a Sync Licensing Deal (Even With Your Foot Already in the Door)

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Congratulations! You've worked hard, recorded a great song, done everything you can to make it appealing to music supervisors, and now all that hard work is about to pay off. A music supervisor has just listened to your song and thinks it'll be a great fit for his or her latest project.

But hold on just a minute – the deal's not done yet. In fact, this is a crucial time in the sync licensing process where the deal could either come to fruition or crash and burn. So to help you increase your chances of signing on the dotted line, here are three of the most common ways that songwriters screw up sync licensing deals.