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 Much Do 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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58 Responses

  1. 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

  6. Thanks so much for this very informative article. May be “stopping” by
    in near future with a few questions, lol.

    Reply

  8. 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

    1. 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 Lawyer

      Reply

  9. 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

    1. 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 Lawyer

      Reply

  10. 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

  11. Hey Kurt should the music be sample free? I’ve been in placement limbo so this helps tremendously. thanks

    Reply

  13. 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

    1. 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 Lawyer

      Reply

  17. 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

  18. 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

  19. 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

    1. 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 Lawyer

      Reply

  21. 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

    1. 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 Lawyer

      Reply

  22. 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

  23. 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

  24. 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

  25. 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

  27. 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

  29. Thank you Kurt! Fantastic information, provided me the information that I was seeking to understand in the industry.
    Im representing two bands, one I would like to explore this more and the possibilities.
    If possible I would like to connect with you.
    Thank you again,
    Tonya

    Reply

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