Hi there, here is an article that appeared on BMI.com and gives some really nice, succinct advice for song placements.  In addition to #1 below, I would add to make sure your song is MASTERED.  This will make your songs sound as professional as possible.  For a list of pitch sheets and stuff too, be sure to subscrive to the mailing list to the right for lots of free info.

If you have any questions, please let me know and I'll do my best to answer in the comments.  Here is the article:


When it comes to getting songs in film and TV, there is absolutely no substitute for doing the work. You need to be a savvy businessperson who is willing to take care of the unromantic, day-in and day-out details of having a career in order to succeed.



By Cliff Goldmacher

Having had the good fortune of song placements in both films and television shows, I can safely say there is no magic bullet when it comes to how to make this happen. That being said, there are certainly things that you, as a songwriter, can do to improve your odds. I’ve listed a few of these below.

1. Make sure your song is professionally recorded and performed This may sound obvious but there is absolutely no wiggle room for a poorly sung, performed or recorded version of your song when you’re pitching to film and TV. You’ve only got one chance to make a first impression. Put yourself in the position of the music supervisor or studio executive who is listening to hundreds of songs for a project.  If the recording — no matter how well written the song may be — sounds like it was done by amateurs, you’re biasing the listener against you before they’ve even given your melody and lyric consideration.  It’s one thing to write a great song but if you’d like someone to give you money for it, then you have to invest the money necessary to present your song in the best possible light.

2. Do your homework It doesn’t make sense to randomly send out songs in the hope that one will get placed. Find out which music supervisors are looking for which shows or films. There are industry pitch sheets and magazines with all kinds of information about who is looking for what; get familiar with them and mark yourself as a professional by making targeted pitches. Unfortunately, no one’s going to do this work for you.

3. Make sure you have complete ownership of the recording In order to give permission to a film or TV show to use your music, you’ll need to own your recording. This means filling out the necessary releases with any session musicians/singers involved in the project and being sure that the studio where you have recorded has given you full ownership of the master recording. Make absolutely certain your pitch plans aren’t derailed by finding out (after the fact) that the singer or players aren’t willing to give you permission to use their recorded performances in this manner. Music supervisors often have very little time to get songs cleared for use in a film or TV show and it will mark you as a pro if you can let them know at the outset that everything is “free and clear” for their use.

4. Get Known for a Style It’s a good thing to be able to write in a variety of styles but you (and your music) will be easier to remember if you become known for providing one particular style and doing it well. Music supervisors are often asked to gather songs in a specific style of music so if you’ve established yourself as a “go-to person” for that style, you’ve got a greater chance of being remembered when the time comes.

When it comes to getting songs in film and TV, there is absolutely no substitute for doing the work. By “the work,” I mean all of the things I’ve mentioned above.  Unfortunately, it’s not enough to simply be a great songwriter; you need to be a savvy businessperson who is willing to take care of the unromantic, day-in and day-out details of having a career in order to succeed.  That being said, there is no greater thrill than turning on your TV or going to a theater and hearing one of your songs playing.  It somehow makes all your effort worthwhile.


Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter and his company, http://www.NashvilleStudioLive.com, provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos.

You can download a FREE sample of Cliff’s eBook “The Songwriter’s Guide To Recording Professional Demos” by going to http://www.EducatedSongwriter.com/ebook.

Facebook: http://www.facebook.com/EducatedSongwriter
Twitter: edusongwriter

Read original article HERE.

I came across this great article in The Huffington Post by Ruth Gerson (links are at the end of the article):

I had a song in an early Adrian Brody movie Restaurant. My friend Jennifer Chaiken was an intern and a producer on the film. I placed a song in the HBO documentary, Naked States, because I once did some jingle work for the brilliant composer Leigh Roberts. Director Michael Beltrami saw me perform in Switzerland, cast me in his film, named it after my song "Promised Land" and used several tracks. Documentarian Dawn Sinclair Shapiro commissioned several songs after meeting me at a benefit concert I did for Umoja in Chicago. Director Paul Kaufman found "You Called It Right" on MySpace and used it for My Name Is Sarah, starring Jennifer Beals (Lifetime). Classmate Valerie Weiss selected "This Can't Be My Life" (which I will be performing live on The Late, Late Show with Craig Ferguson this Thursday night on CBS -- tivo early Friday morning) for her hilarious and smart film Losing Control.

So far, all the licensing I have been fortunate to receive has come through friends or fortune. The residuals of these song placements can add up to a significant portion of making a living as a musician, but it's not the avenue where I've spent much of my time and energy. Many voice students ask me how they can get their songs into T.V. and film, so I reached out to some experts about how to go from "getting lucky" in licensing to earning a steady income. Their advice for independent artists is inspiring: Go after it. Develop a strategic campaign and see it through. There's a market for being "nobody," if your recordings are good.

Music supervisors not only need indi music to help them stay within budgets, they enjoy discovering lesser-known artists. Music supervisor Margaret Yen says one of the great perks of her job is licensing songs that might have otherwise gone unheard. (Yen recently placed a Paz Lechantin song in a new indi film starring Will Ferrell.) She recommends artists avoid going for "a sound" that is trendy and stick to writing "simple, unique, solid songs... that's usually what's needed for T.V. and film."

Ms. Yen explains that it is feasible for artists to pursue licensing independently, but recommends finding experienced representation to pitch songs.

Nancy Tarr runs Tarr Music, a new licensing company she considers to be more like a boutique label. Tarr agrees the best part of her job is making that phone call to an artist to tell them their song was selected. She advises independent artists, "in a friendly, not aggressive way" reach out to music supervisors by sending them a link to three songs.

Tarr emphasizes, "Spend the money in the studio... Don't send demos." Learn about the music supervisor's show, and describe BRIEFLY how the song would serve a character or scene. "Music supervisors have very little time to go through a massive amount of material to find what fits." Don't send music supervisors to your website, give them a specific link or URL pointing directly to your songs. She also advises, "When you're in the studio, make sure to take instrumental passes of your songs. They're useful for T.V. and film."

Composer Leigh Roberts of JECO Music adds, "Besides the instrumental passes, you may want to take a vocal "way-down" mix. This is sometimes needed for tracks that are in scenes with dialogue." He mentions, "You are developing relationships with music supervisors, composers, directors and producers. If you have anticipated what someone needs, you'll be remembered."

In a recent BMI newsletter, Gabe Hilfer (The Wrestler, Entourage) says that "finding a track from a lesser known artist that works for a scene can be a very rewarding experience." He recommends putting a CD in the mail and prefers to listen to music that way. Ms.Yen says if she sees great artwork that catches her eye, it can make a difference and a tip from Nancy Tarr: put your contact info on the CD itself.

How do you find the people and contacts you want to send your music to? I recommend  starting with Google searches for "contact, music supervisor, name of show/movie." Choose shows/movies you are familiar with. It takes tenacity, but you'll find people. You can also buy a music supervisor directory. Compose a list and hit it once a month with a CD in the mail or email with links to songs. If you can't find a music supervisor for something you feel strongly about, look for a director or producer. Cross-reference the names with your Facebook and LinkedIn -- you might find an introduction. If you have outstanding press, include a quote in your mailing.

You can be a squeaky wheel without being annoying. Be polite, stick to the point and don't send too much material at once. If you get a response and begin to develop a rapport with someone, remember everyone appreciates being appreciated, express your gratitude and be patient.

Prepare to be ignored -- it is not personal. Keep your campaign going, unless someone says, "no-thanks," and if you get a "no-thanks," promptly remove the person from your list, and replace him with three new people.

When it comes to licensing, it's possible the harder you work, the luckier you will get.

Follow Ruth Gerson on Twitter: www.twitter.com/RuthGerson1

View original article:  http://www.huffingtonpost.com/ruth-gerson/making-a-living-making-mu_2_b_796302.html