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Discover the latest music trends and insights with A&R Factory. Stay informed and inspired as we explore the dynamic music industry landscape where we cover the latest music industry trends, analysis and predictions in the industry. Whether you’re a music enthusiast or industry professional, A&R Factory is your go-to source.

Streaming and Licensing Can Prove Lucrative for Artists

Listeners have more access to music more easily than ever before. Not only that, but they also have an unprecedented level of control over what they listen to. No longer are fans forced to sit by the radio or call in requests to their local DJ. Nowadays most fans are able to find their favorite artists on demand through a variety of streaming platforms. While this has been great for music lovers everywhere, artists are still learning to adapt to an ever-changing industry in the information age.

It’s also been great that artists can connect with their fans more directly than ever before, but a side-effect of this accessibility is the adverse impact on album sales. Musicians have become forced to rely more heavily on streaming, which often yields a fraction of the profits to all but the biggest artists. As a result, it’s even more difficult for bands to make a living solely from their releases. Streaming is arguably one of the best and worst things to happen to musicians in the last decade. In many ways, streaming has provided a freedom from the typical album format to allow artists the leeway to experiment with daring new sounds. For fans, it has provided access to all their favorite tunes at their fingertips, and often for free.

And it looks as though streaming will only continue to grow as the preferred mode of consumption for most listeners. It was recently announced that Tesla, (the electric auto giant, not the heavy metal band), could be launching its own streaming service dedicated to its futuristic cars. The company is apparently in talks with major labels to create an in-car entertainment service that might operate on a monthly or yearly subscription model similar to Amazon Prime. The manufacturer already has a deal with Spotify in some markets, but with its own service it could create a valuable additional revenue stream. Also, if they pay artists a little more fairly than Spotify, it could be a winning situation for everyone involved.

The issue with many streaming services often comes down to the payouts. In many cases, smaller artists receive a pittance for their efforts, and they’re no longer able to rely on music sales to provide a stable and reliable source of income. The same can also be said for most established acts looking to court the interest of a much younger and technologically savvy audience.

In order to find a way to connect with new listeners while also widening their streams of income, licensing has turned into a lucrative option for bands hoping to expand beyond album sales and touring. And this goes far beyond letting a song be used in a commercial or a movie soundtrack. Some artists have begun loaning out their likenesses to online video games, which allows them to profit from their notoriety and extend their reach to a new audience. These online slot reels feature a variety of bands with artists like Jimi Hendrix and Guns N’ Roses highlighted at the reviews for popular casinos. These games feature the artists themselves along with some of their biggest hits to create a new means of appealing to old fans while making a few new ones along the way. The end result is an innovative way to increase exposure while capitalizing on an established back-catalog. As acts continue to set up these kinds of deals, it wouldn’t be surprising to see it spread across the industry.

The digital revolution in music will likely prove to be a positive for everyone, and it’s only natural that there would be some growing pains along the way. Artists will continue to learn how to best take advantage of the resources provided by streaming and the virtually endless licensing opportunities. And we predict that things are going to work our for enterprising musicians in the long run.

Top 5 Tips for Music Licensing

So today A&R Factory had the chance to ask Scott Dudley his Top 5 Tips for Music Licensing.

Scott is the Creative Director at PUSH.audio. PUSH.audio is an emerging agency/web interface that focuses on landing placements for mainstream & burgeoning artists; placing multiple genres of music for TV / Film / Advertisements / Games etc. at the fingertips of those looking for precisely that.

His credits include BRITAwards, MTV, VH1, FOX Sports, NBA on TNT, SBNation, ESPN, FOX, NBC and many more!

A&R Factory had the chance to ask Scott his Top 5 Tips for Music Licensing.

  1. Presentation / Metadata

Music Supervisors want the story to the song… the mood. For example, if a pitch is searching for something similar to “A Tribe Called Quest,” submit your song with a personal email. Something like “Hope all is well, I’ve attached a similar song with the ‘Golden Era’ feel,” etc. Build the relationship. Don’t just send a song and exit.

Your metadata should be very descriptive. Include lyrics, similar artists, moods. When a pitch comes in and someone looks for something specific and/or lyrics mentioning “Sunshine”, it’ll boost your chances having done this ahead.

If you are adding your songs to 3rd party libraries or allowing agents to place your music they will greatly appreciate this! It saves them time and money and allows them to hit the ground running with your current and new music.

  1. Mastering Quality

Songs being crystal clear and 0db mastered are ESSENTIAL for any major TV/Film license. If the song is not properly mastered, most won’t listen past 10 seconds. Even an online mastering service like LANDR noticeably improves quality and levels the composition to 0dbs.

  1. Sessions Files Available

Most agencies or supervisors will need or request changes. Sometimes it’s as simple as turning the piano down. Sometimes they need a 4 minute song crammed into a 3 minute song. To do all of this, you will need your session files available. Immediately, when you master your song you should have the Instrumental and Clean Version made as well. Some may request to have it remastered via their in-house engineer so also save the unmastered version. This is vital, keep them both saved and on hand!

  1. Networking

The fact of the matter is, this is legwork. The most powerful relationships we have at PUSH are long-term built over multiple projects. When you work together on something great, companies tend to stick with you and keep coming back. Where to find them, some major networks will give TV Slates to the public if requested. This lists upcoming works on the network and the Music Supervisor involved.

The public pitch sheets or music pitching services I wouldn’t necessarily recommend. They are impersonal. When you release something like that to the public you are going to get a lot of junk. That’s why most connections we have come from a 1-1 relationship and a history of the music we provided to them, which leads me to my #1 tip…

  1. Professionalism

THIS, in my opinion, is the MOST important. Your music is a commodity. Whether or not you gain monetary value from it is completely up to your business ethic. Have your BMI Song Splits ready with your IPI #, The Work #, ISRC # on-hand! Return contracts in a timely manner. These major companies may have 48 hours to place a song. If you happen to get a bite and they ask for Song Splits / Performing Rights Organization, etc. and you respond with “What’s that?” odds are they won’t respond, they’ll look for the next song selection.

Read your contracts. Never sign an exclusive contract without an advance. You are eating 100% of the risk. An agency can make all the promises in the world, but in the end do not let them bury you in the risk. Ask questions, be careful of giving up your publishing. If anyone is requesting to own the publishing they need to compensate you. Your music has value, if someone is requesting to lock down your music for 2+ years add a clause to terminate if no placements are made within a certain timeframe.

Email is good, but speak to your clients on the phone. Go out to them, fly out and network. Bottom line, get in that legwork!

Get in touch: Scott teaches a class over at Pyramind (http://pyramind.com).  If you are a musician that may be interested in getting your music licensed in TV/Film send a demo to submissions@push.audio or contact Scott directly at sdudley@push.audio with any questions you may have.