What Difference Does It Make A Film About Making Music Music in Film – The Top 3 Ways Music Publishers Can Increase Future Synchronization Revenue

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Music in Film – The Top 3 Ways Music Publishers Can Increase Future Synchronization Revenue

The following is a quote I heard from a highly respected TV music executive at a recent conference I attended: “I hired an intern to empty the MP3 files that were sent to me once a day because they were destroying my system.” This is the reality facing music publishers. When it comes to music licensing, there are major challenges where the rubber meets the road.

Digital technology has created a musical revolution, ushering in an era of freedom for every artist to create without judgment. Creators present their music exactly as it is heard, and with the click of a mouse, live cinematography above the music industry. You might imagine pigeons making a graceful landing in a blue sky, but that couldn’t be further from the truth. It’s like a bug hitting the windshield…a thousand bugs. Full access is the opposite! A large number of undeveloped artists and songwriters who aren’t ready to license are stifling the crowd, making it increasingly difficult for serious publishers with serious songwriters to get heard. Even major music publishers with back catalogs of hits find it difficult to navigate the overcrowded path.

Publishers cannot continue traditional methods of placing music as this is the only way to ensure synchronization. All music publishers should consider a new synchronization model that invests directly in end users and creates an internal environment for copyright and songwriters.

The first change is the creation and financing of publishing companies in partnership with filmmakers. Multinational music publishers need to buy as many film scores as possible. Some majors already manage music for major film companies, but they don’t benefit from all the additional revenue that can come from these relationships.

If you’re a small publisher, allocate money from your A&R budget and invest in film scores. If you’re signing five new writers a year, sign three writers and two filmmakers instead. These two filmmakers will give your writers and catalog primary access to their films. By showing directors how to earn money by owning the underline, you’ll see some of their licensing budget go towards your song. Investing in a film with your own promotional money is a collective risk. Investing only in songwriters is 100% risky for publishers. That songwriter hopes to write a hit song, get top artists to record it, and a record company to make it a success. Not easy to do these days. For those of you who think I’m anti-songwriter. Not a possibility. I’m all for the songwriter side. These ideas are about creating opportunities to help songwriters and songs. What’s the point of having five great songwriters and no chance? Signing fewer writers will help you sign better novels!

The second change is the offering of Music Supervision services for publishers. Build it or buy it and then focus on independent films, which I think is the last open market. Global market! Hollywood is investing in movies around the world as affordable film technology allows all filmmakers to tell their own stories. It makes sense to have a home monitoring service for your US and European offices.

The third change is to make your back catalog of your most popular authors affordable. A lot of attention is paid to the hits and very little to the back catalogs of the hit makers. Make an unknown song by a popular artist available for an independent film. I’ve found that most artists’ favorite songs aren’t hits. They are willing to discuss pricing options to help bring their most cherished songs to the film world. The phone will listen to the big hits. The radio is promoting them every day. Spend some time promoting lesser-known songs and pricing them fairly. Don’t be afraid to be creative and innovate. Identify foreign countries where your artists and songs may be very popular and market them to that country’s film industry through your affiliate. You’ll see a new revenue stream for filmmakers who never thought they’d have a soundtrack from a big artist.

Technology has changed music publishing forever. We have to change with it. Songwriters count on us.

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