music supervision

Pitching Music for Film & TV: Tips from a Gatekeeper (Second Edition)

By Amanda DK

Recently a handful of independent managers, artists, songwriters (and friends) have reached out to me asking the same question in slightly different ways:

How do I get my music into television and films?

I hope those people don’t find it impersonal or rude that I’m answering them with a public article.  I’m writing this because I want to help…honestly, helping them is helping me.  It’s just that these sort of questions come up multiple times a week and I am always giving the same answer.
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Four Reasons Why Twitter Is Essential for Music Professionals (Yes, Even Music Supervisors!)

By Amanda DK

At this point it’s a given that Twitter and the music industry are inextricably linked.  The site has changed the way artists can interact with fans, how marketing strategies are devised and executed, and set a new, even faster pace for the spread of news and buzz.  It’s been invaluable tool in growing this blog; I’ve built countless relationships with social media experts, fellow bloggers, and publicists through Twitter alone.  But what about for music supervisors?
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SXSW 2012 Recap / Day 3 / Lucius, St. Lucia and Funky Family Ties

Interview / Russell Ziecker, Head of Television Music and A&R at Lionsgate

By Amanda DK

Behind many independent music supervisors, especially in the television world, there is a studio executive working with several other independent music supervisors trying to keep multiple shows on course and colleagues on all levels happy.More often than not, these are the less glamorous positions; their names may not be in the credits, but studio music execs are still reading every script, watching every cut, solving clearance struggles and giving creative notes.  Not only that, the creatives on a project (director, producers) can sometimes perceive them as the “bad guy,” pushing corporate studio agendas at the expense of their vision.  The best ones can serve both to an equal degree at the same time – Russell Ziecker is one of these.
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Paper Crane Collective / Pitching Music for Film & TV (Tips from a Gatekeeper)

I’ve had the bits and pieces of this post rattling around in my brain for quite some time now, so when Tsuru alerted the Paper Crane Collective that he may not be able to post today due to an alleged “road trip” for a so-called “fashion show,” I figured now might be the right time to unleash it (in all seriousness though, he and Tsurubride are both rockstars, I’m happy to help).  It was posted on PCC on Friday, and now I’m bringing it to TA.

When I’m not blogging, I spend most of my time in a cubicle where I work in TV music at a studio.  I also music supervise the occasional project on the side when people want me.  A good part of my job is keeping track of the flood of music submissions that come to my boss and I from all over – independent artists, major labels, indie labels, publishers, agents, managers, pitching agencies and the occasional publicist.  Having been in this role for a solid two and half years now, I’ve spoken to a lot of folks on the phone who don’t know that it’s unprofessional to send a handwritten letter with a chicken scratch title written on the CD in sharpie, or have no idea what yousendit is.  Based on my experiences there are a few things I believe every artist should be aware of in order to come off educated, to protect their own music, and give their tunes the best shot of getting licensed.
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