Welcome to Part 5 of an ongoing, immediate experiment. For the last 4 weeks, and over the next 12, we’ll learn together as I (Secrets in Stereo) write, record, promote, and release my new album.
In Part 1, we got to know each other. I introduced myself and let you in on my motivation and goals for this project. In Part 2, I gave you 3 things that have allowed me to quit my day job. In Part 3, I gave you 5 things Music Supervisors want from you and your music. Last week, I told you 5 things I wish someone would have told me before I signed that contract with the licensing company. And this week, the 5 rules to follow when trying to get your music to Music Supervisors.
Let me begin by re-interrating what I’ve said a few times over the last couple of weeks. For 99.9% of songwriters and artists, I highly recommend researching licensing companies, and partnering with one that fits you. Having said that, if your music is great and you are able to check off all of the qualifications we discussed in Part 3, then going direct to Music Supervisors can be a fruitful decision. If you are unsure whether you fall into that .1%, then you don’t. Stop reading now. Because you will burn every bridge that you want to cross over. Phew! Ok, now that that’s out of the way, let’s learn the…
5 RULES YOU MUST FOLLOW WHEN TRYING TO GET YOUR MUSIC TO MUSIC SUPERVISORS
1. Do Your Research
There’s a reason why this is #1. Before you even think about contacting a Supervisor, you should know everything about them, as well as what shows/films they are currently working on. This pre-game work can be very valuable. Once, I found an article from a Supervisor where she said Wednesday was the day she set aside each week to listen to new music. What day do you think I emailed her?
A good place to start this research, is backwards. Start with the show. What shows do you watch and think, “My music sounds like that.” Make a list. Then, find out who the Music Supervisor is for that show, and see if you can track down an email. You can usually find it just by Googling. But, there are directories out there. I recommend the Music Business Registry.
2. Be Personal and Focused
Do not send mass emails. I repeat. Do not send mass emails. Every email should be targeted to what that particular Supervisor needs. Be VERY specific. Maybe you have a song in your catalog that you think would be perfect for their show. Lead with that. Focus on that one song. Not the 5 albums you’ve recorded over the past 7 years.
3. Respect the Supervisor’s Time
Music Supervisors don’t have much time in general. Much less, to answer an email from a random person. Your email should be short and to the point… This is who I am. This is why I’m reaching out to you. Here’s the perfect song for you. Also, think about timing. Early and late in the week aren’t good times to send emails. Mondays are crazy because they are catching up from the weekend. And, Fridays are crazy because they trying to finish up for the weekend. Not to mention they will forget you over that weekend. My favorite day to email is Tuesday. The Monday craze is in the rear view mirror, but there is still a lot of the week to get business done.
4. Expect a 10% Response Rate (At Best)
If you send 50 emails out, expect 5 to return your email. That’s not a bad scenario if 3 of those 5 end up using your music. But, now you are seeing why I highly recommend the 3rd party route for most people. This road takes time, and no fear of rejection.
5. Get Permission to Send Music
I’m a big believer in the fact that there should be a purpose to everything you do. For this email, the purpose (or goal) is to get permission to send the Supervisor music. To do that, they need to hear it. So, the “Call to action” in the email should be ONE link to your music, and a phrase like… “Let me know if you think you can use the music, and I will send it your way.” But, whatever you do, don’t attach mp3′s or send music unsolicited.
If you make it to this point in the relationship, then you are farther than most. Congratulations! Moving forward, the first 3 rules still apply until the end of time. Whether you just started a correspondence with a Supervisor, or have known them for 5 years, ALWAYS do your research and know what they’re working on, be personal and specific in your back and forths, and don’t waste their time.
Next week, we’ll get into the concept of Artist Positioning. What is it? How will it help you? Who’s practicing it? All those questions and more will be answered next week.
See ya then!
Josh
http://www.secretsinstereo.com
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