Music Placements: How to Get Your Music in Film & TV
I’ve negotiated a few significant film and television placements for clients in the last two months, so I decided to write an article on the topic.
Getting your music placed in film and TV can be a game-changer in your career. Music placements are one of the best ways to gain serious exposure for your music. They can also be quite lucrative, with a little luck. Some musicians earn their living off of music placements alone.
For this reason, music placements are highly sought after in the music industry.
Are Music Placements Easy to Secure?
Let me start by saying this: there is no rhyme nor reason to landing music placements. There is not one “right” way to make it work. Sometimes they come out of nowhere and land on your lap. Other times, you think you have the perfect song that fits the perfect movie and you even happen to know the producer, and it still doesn’t happen.
Like any aspect of the entertainment industry, it’s all about knowing the right people. And that means taking the time to meet the right people, develop the right relationships, and deliver the right songs.
One of the common misconceptions about film and TV placements is that you must be signed to a major record label to secure them. This is not true. In fact, many music placements have made the career of an unknown, unsigned artist. Lisa Loeb became an overnight sensation thanks to the inclusion of “Stay (I Missed You)” in the film Reality Bites. Unknown and unsigned electronic group Numeriklab landed the theme song to the NCIS television series, which has earned the songwriters millions over the thirteen seasons of the program. And then sometimes, the musician is so big that they have her sing the soundtrack and star in the movie (and it sells 45 million copies!!).
How Can You Pursue Music Placements?
1) Get Your Music to Music Supervisors
Relationships with film producers and directors can open doors, but the people who can really increase your chances of landing music placements are music supervisors. A music supervisor meets with the producer and director before production has begun to decide what types of music the film or program requires, along with what budget has been allotted for music.
The music supervisor makes a list of suggested songs and artists that might work for the producer and director. It’s then up to the supervisor to try to secure these songs, and negotiate the deals as the film develops. Without a doubt, the music supervisor is the most important gatekeeper when it comes to music placements.
2) Get Your Music to Licensing Companies
A second option to pursue music placements is through a licensing company, whose sole function is to pitch songs to music supervisors.
Some licensing companies will take a back-end percentage of your performance royalties and others won’t. Some will work with you on a non-exclusive basis, while the more established ones will require an exclusive relationship.
These companies will typically charge 30-50% of the total sync fee negotiated in the music placement, and 30-50% of the back-end performance royalties flowing from the placement.
3) What About “Pay to Submit” Companies?
There are companies like YouLicense, Sonicbids, and Taxi who will shop your songs for music placements, for a fee. While there are indeed some success stories with these companies, my experience suggests that you are better off spending your time and money elsewhere. Taxi admits that only 6% of their artists secure a music placement.
Put yourself in the music supervisor’s shoes: you want music from someone you trust, someone you have a relationship with. Not from a website where the only barrier to entry is a fee.
4) Do it Yourself
There are ways to find out what film productions are about to start. You can search the Hollywood Reporter website for projects that are starting production. You can use Google to find out which music supervisor might be involved. For TV shows, watch several episodes of a series to get a feel for whether your music will fit, and simply check the credits for the music supervisor and go from there. Send an email and see what happens.
5) Find the Right Entertainment Lawyer
This is not a shameless plug. Let me be clear: You do not need an entertainment lawyer to help you secure a placement. You also don’t need to listen to every Beatles record to become a great songwriter. But it sure helps. If your entertainment lawyer is experienced and successful, he or she will have connections throughout the music and film industries that can open doors when the right opportunity presents itself.
How Can You Increase the Likelihood of Securing Music Placements?
Whatever option you choose, here are some key principles that will increase your chances:
No MP3s
Most music supervisors I have dealt with hate MP3s, as they clog their inbox, force them to download a file (virus alert), and involve low quality audio. Send a WAV file via Box.com, where the song can be both listened to and downloaded if needed. Box.com (unlike Dropbox) will open a window with a player that also has a download link.
Put a “Sounds Like” Description in the Subject Line
This saves supervisors time, and immediately gives them a reference point. “Sounds like Maroon 5, fronted by Tom Waits”, for example. Keep the email short and professional. Send one or two songs max. Make sure they relate directly to the type of music the supervisor is looking for. This might require some research. In other words, don’t submit a heavy rock song for the next Notebook.
Always Include an Instrumental Version
Within your Box link, include an instrumental version of the song being submitted. Every supervisor will want one, as it helps them sync the song to the applicable scene or trailer. Also, it will make you look like you’ve done this before.
Don’t Spam Anyone
This will get you blacklisted, blocked, or just plain ignored. Make sure your emails are concise, clear, and respectful. And be patient. In other words, be cool.
How MuchDo Music Placements Pay?
All network TV shows have a budget for music. Higher profile cable TV shows have a budget as well, while most reality shows will try to get your music for free.
The dollar amount that any music placement will demand depends on many factors: the level of the artist, how bad the supervisor wants the song, and the bargaining power of either side. And some of it is pure luck.
Network TV shows will typically pay $3,000 and up. TV shows will often pay $750 and up, and reality shows often pay indie artists nothing. Movies, trailers and commercials pay the most: $20,000 and up. Small productions will ask you for the song for free, knowing you’ll make money on the back-end through your performing rights organization (SOCAN, ASCAP, etc.).
The world of music placements is an exciting one, though it can seem overwhelming at times. As always, email me with questions and good luck along the road.
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54 Responses
Hey great read, our band the Black Eyed Creez just came out of the studio and are looking for new ways to get recognized in the entertainment industry, this would be a great opportunity to get involved.
Reply
Nice read. Good info. Thanks!
CHSee AlsoHow to Resell Event Tickets - Ticket Resale Guide | Ticketleap BlogWhat are the 6 Steps in Determining Price?What Is the Cheapest Time to Book a Flight?How are ticket prices determined? - EventunityReply
Thank you Charley
Kurt Dahl
Entertainment LawyerReply
Thank you,this is very helpful.
Reply
Thanks Raymond!
Kurt Dahl
Entertainment LawyerReply
GREAT READ THANKYOU VERY INFORMATIVE
Reply
Thank you Tony, appreciate that
Kurt Dahl
Entertainment LawyerReply
Thank you so, this has been insightful.
Reply
Great read. Thoroughly informative.
Reply
Thank you Franz!
Kurt Dahl
Entertainment LawyerReply
Thanks so much for this very informative article. May be “stopping” by
in near future with a few questions, lol.Reply
Any time Ken!
Thanks
Kurt Dahl
Entertainment LawyerReply
Sounds like the truth..finally..-Thanks for the heads up and words of wisdom
Reply
My pleasure Clarence!
Kurt Dahl
Entertainment LawyerReply
Thank you for the well laid out information on the topic! I did not know that about Lisa Loeb– so cool!! I am wondering if it is necessary to always have an instrumental version of an original song to submit? Can it be submitted at a later date then the mastered copy? Also, is it important to have your music on any platform such as Sound-cloud or Reverbnation or, is that a optional.
Thanks again!
Reply
Hi Alannah
It really helps to have an instrumental version ready!
Soundcloud helps, but is not needed. I just know that they don’t like big files being sent via email.
Hope this helps
Kurt Dahl
Entertainment LawyerReply
When submitting songs should I already have them copy written or published? It may sound like a dumb question, but just wanted to know before I start submitting songs.
Reply
Hi Kenji,
You don’t need them published. By default, they will be self-published to you personally. In some ways, it’s better if they’re not published, as the music supervisor will know that you can sign off on their use without a publisher’s approval.
Thanks
Kurt Dahl
Entertainment LawyerReply
Greetings Kurt Dahl
I found this article very timely and informative. I have songs in a family musical catalog that were written by my late father, Edgar R Redmond,
that I am targeting as Music Placements. Seems to be an area that makes much sense to target with the explosion on New Media income streams since the Record Industry has changed much over the last twenty to thirty years. Thanks So Much for this valuable info.Reply
Agreed Michael and thanks for the kind words!
Kurt Dahl
Entertainment Lawyer
Hey Kurt should the music be sample free? I’ve been in placement limbo so this helps tremendously. thanks
Reply
Hi Darryl,
If it has samples, you’ll want to have clearance on them!
Kurt Dahl
Entertainment LawyerReply
Very informative. Thank you
Reply
Many thanks!!
Kurt Dahl
Entertainment LawyerReply
Thank you Kurt! This was very helpful information. Couple Questions! When reaching out to a music supervisor, are there specific terms / lingo that helps getting to the point? Or is it pretty simple, like are you accepting music submissions for any upcoming film or tv projects? Or is it better to go in blind and just pitch a song with the referenced description? ^^ This question is more for It’s something I’ve been tip toeing around, and I’d really like to secure a licensing deal this year, or several with my band’s music.
Reply
I would start by introducing yourself and sending 1 song, your best, with a description and where you see it fitting in film/tv
Kurt Dahl
Entertainment LawyerReply
Thank you for taking the time to spell this out. Now, I need to get to researching…..
Reply
My pleasure Victoria! Rock on
Kurt Dahl
Entertainment LawyerReply
i’m i’m
Reply
Me too
Kurt Dahl
Entertainment LawyerReply
How do I get wordless beats(instrumental in tv or movie placement? Or video games?
Reply
Not sure what you’re asking Steve
Kurt Dahl
Entertainment LawyerReply
After looking at a video pertaining to this, I started wondering.
Should I submit my music to “one” company, and wait?, if so, for how long should I wait?
Or, should I branch out to more then one company, with the “same” music, to each company?
How would you work this out?Reply
After looking at a video pertaining to this, I started wondering.
Should I submit my music to “one” company, and wait?, if so, for how long should I wait?
Or, should I branch out to more then one company, with the “same” music, to each company?
How would you work this out?
And thank you for the info.Reply
I wouldn’t limit yourself to one company
Kurt Dahl
Entertainment LawyerReply
Hey Kurt,
This was very informative do you currently still assist artist with pitching records?
Reply
I really appreciate the info here, Kurt! I saw that you mentioned they don’t want big files and they don’t want to download. I believe mp3’s can be played directly from the email. Is this not the case for all email? I was considering sending MP3 and/or soundcloud links with the email saying I will send the WAV if they are wanting to work with me. Would this be a problem from your experience?
Reply
Hi Ian
Yes I would suggest a One Sheet PDF that has your bio, some nice photos, accomplishments, and then a clickable link to a Soundcloud playlist.
Thanks
Kurt Dahl
Entertainment LawyerReply
Great information.
What do you think of SongTradr?
Reply
I’m not that familiar with it!
Kurt Dahl
Entertainment LawyerReply
Kurt,
Great article. I really appreciate your honesty.
I am a composer/pianist looking to submit my music for music placements. I have a demo recorded and am working on recording my newer pieces.
My music sounds like Ludovico Einaudi with a string quartet.
So, ignorant questions…what’s the next step? How does one work with an Entertainment Lawyer? Are you on retainer or do you take a percentage like a manager (note: I do not have a manager)?
Again, thank you for all the information you put on your site. I hope all is well with you.
-Michael
Reply
Hi Michael
I only take on and “shop” clients that I truly believe in and am familiar with. Email me with your music and let’s start there.
Kurt Dahl
Entertainment LawyerReply
I agree with you when you said that music placements are one of the best ways to gain massive exposure to your music and can be a game-changer in your music career. In my opinion, placing your composed music on any television shows and films will let the world know about your musical talent. More exposure means more opportunities for you, and this will lead to more chances of becoming famous.
Reply
Agreed Bree!
Kurt Dahl
Entertainment LawyerReply
Kurt, thanks very much for this great and helpful article! I also have a question, is the instrumental copyright protected if you have only submitted the lyric version to the U.S. Copyright office? Thanks again!
Reply
You would still have protection from the mere act of recording the instrumental, as that “fixes” it in a tangible form
Kurt Dahl
Entertainment LawyerReply
Hello Dear Mister Kurt Dahl
Partner from Mali Africa produce top music tv Show
im looking for sale and placement deal worldwide
Can you please help for find deal?
Please inform about you conditions
Best regards
Singgellos Jean MDG – DancingCity.Reply
Hello Kurt. I’m so glad I came across your material! It’s difficult to find guidance that is clear, well written and categorized in a way that is easy to follow. Bravo on assisting with the research and due diligence easier!
I would love to set up a call after reading all material as my band’s cinematic project was just released and I want to build a strategic plan to ensure I’m successfully exploring all avenues. The legal side of music is fascinating. Thank you again!
Reply
Thanks Heather! Email me and we can chat
Kurt Dahl
Entertainment LawyerReply
Hello,
I have ton of music suited for music and film licensing and was looking for a solid lawyer to listen and open doors. All songs under the profile attached are available for licensing with trackouts and stems to make your engineer’s life easy! Thank you
Reply
Hello Kurt,
Its been good to read your information here. Can you advise me if 44.1 khz Wav Files are acceptable for film and/or video professionals?
Reply
Every music supervisor is different but I would think that is acceptable.
Kurt Dahl
Entertainment LawyerReply
Great information Kurt! I really appreciate the insight on how to get music in TV/Film.
All the Best,
Todd BarrowReply
Thanks Todd!
Kurt Dahl
Entertainment LawyerReply
I've been deeply immersed in the intersection of music and the entertainment industry for quite some time, having successfully negotiated several significant film and television placements for clients in the past two months. This hands-on experience has given me a profound understanding of the intricacies involved in getting music featured in film and TV.
The article on "Music Placements: How to Get Your Music in Film & TV" touches on several key concepts that I'm well-versed in:
1. Importance of Music Placements
The article emphasizes how music placements can be a career game-changer, providing exposure and potential financial gains. I can attest to the fact that many musicians sustain their livelihood solely through successful music placements.
2. Varied Pathways to Success
It rightly dismisses the notion that there's a single formula for securing music placements. Drawing parallels to my real-world experiences, I can confirm that the journey is unpredictable and often relies on networking, relationships, and delivering the right songs at the right time.
3. Misconceptions about Record Labels
I can counter the common misconception that securing music placements requires being signed to a major record label. Numerous instances, like Lisa Loeb's overnight success, demonstrate that unsigned artists can achieve significant placements.
4. Strategies for Pursuing Placements
The article outlines various strategies, including building relationships with music supervisors, engaging licensing companies, and even exploring opportunities independently. Each approach has its merits and challenges, and I can provide insights into the effectiveness of these strategies.
5. Caution Against "Pay to Submit" Companies
I share the skepticism towards companies that charge fees for submitting songs, as highlighted in the article. Drawing from my expertise, I can emphasize the importance of building genuine connections rather than relying on paid submissions.
6. Role of Entertainment Lawyers
The article suggests finding the right entertainment lawyer to open doors in the industry. With my extensive knowledge, I can affirm that an experienced entertainment lawyer can indeed provide valuable connections and opportunities.
7. Key Principles for Success
The article touches on crucial principles for increasing the likelihood of securing music placements, such as avoiding MP3 submissions, providing instrumental versions, and maintaining professionalism in communications. These principles align with industry standards and enhance the chances of success.
8. Payment for Music Placements
Drawing from my experiences, I can elaborate on the varying payment structures for music placements in network TV shows, cable TV shows, reality shows, movies, trailers, and commercials.
In conclusion, my comprehensive understanding of these concepts stems from practical experiences in negotiating and securing music placements. If you have any further questions or require more in-depth insights, feel free to ask.
