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Andy Lykens

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How To Start Crucial Music Industry Conversations

March 9, 2013 by Andy

What do you mention when talking about what you’re up to musically? Anything! As an indie musician you need to be highly versatile and agreeable to ANYTHING that has to do with music. A friend wants a band to play at a party? Someone else needs a DJ for their wedding? Your boss needs help choosing music for her kids? Yes, yes, and yes.

Get used to saying yes to everything that has to do with music. Even if you’ve NEVER done it before. Even if you don’t have the right equipment. Say YES and figure it out.

This is a key insight into the minds of some of the world’s greatest entrepreneurs. They see someone with a need and find a way to fill that need for that person. Eventually their reputation grows as a problem-solver and soon enough they’re making money – or even building a company – by simply having capitalized on the opportunities all around them.

Here’s how it could work:

Your friend’s friend needs a band to play at a party.

You say YES, figure out what kind of music they want, and do it.

When you go to the party, use it as an opportunity to:

    a. Talk about your upcoming EP release.
    b. Subscribe people to your mailing list.
    c. Chat with a few individuals and mention all the capabilities you have as a musician.
    d. Say YES to any other opportunities that arise.

Sure, you may get nothing or you might meet a bunch of people who work in accounting firms who seemingly can’t help. However, if you convey your message clearly, it makes your message easy to remember and easily repeatable. They can then relay your skills to their friends. You can see how literally anyone becomes a great new lead. Plus you might need an accountant some day anyway!

Here’s another more basic setting:

Your friend needs some new music for their daily workout.
You say “I know a TON of great workout music, what kind of stuff do you like?”
You put a playlist together, put yourself in the meta-data in iTunes with your email address, and tell your friend to spread the playlist around if they like it.
– This could potentially lead to a few new fans or mailing list subscriptions, or just some new friends-of-friends who loved your choices, who can now think of you when they think of music.

Saying “yes” is also a great way to learn new skills and develop side projects and alternate revenue streams as you pursue your passions – all because your friends know that when they think “music,” they should think of you.

But this email is titled “what to say” and I know how most of you feel when it comes to self-promotion. You think of it as annoying or contrived and it may make you feel uncomfortable. Well the great news is if you’re starting with friends and colleagues conversations are immediately more comfortable.

But the key when talking to anyone is to thinking about talking UP!

U – Updated
P – Positive

This means that everything you say about your career should be some new detail with a positive spin. Let’s say you’re currently trying to find a music publisher. When your friends ask “hey how’s it going” you could respond by saying:

“It’s going really well, thanks for asking! I actually reached out to a few different music publishers last week about my new EP!”

Your friend might ask what a music publisher is, or ask to hear your new songs, or maybe they just change the subject. Whatever they do, if they engage in a conversation later and music comes up, you can bet they’ll say “oh yeah my friend’s in a band – in fact, I think he just recently was talking to a music publisher about his new EP.”

Simple phrases like that go a very long way. From here it’s possible your friend’s friend could want to get in touch and ask how you did what you did. Maybe they need advice because they’re starting to record their own EP. Or maybe it’s something simple like they’re looking for a new guitar player. This means potentially being able to advise them about publishing, helping produce their EP, or getting an extra gig with their band.

Either way you can see how each time you simply mention what you’re working on in a positive way, the response can lead to a situation where your skills become relevant, interesting, and useful.

Why is it so important to be positive?

Well, check out this response to the same question of “how’s it going?”

“Pretty good I guess. I tried emailing some publishers but I haven’t heard anything back yet. It’s really frustrating. The music business is so tough to get into. I’m not even sure my new EP will get listened to by anyone.”

WHOA! Big difference right? This statement sure says A LOT about how you feel about your own music, and how successful your friends perceive you to be. What do you think your friend might say to their friend now? Do you think they’ll relay a simple, positive statement that gets the person they’re talking to interested? Probably not.

Furthermore, how do YOU feel when someone talks to you in this fashion? How does someone who is positive affect you? Start paying attention to it today – you’ll be blown away.

Here are a few more examples of updates you can give to friends when they ask you “what’s going on?”:

  • Invites to upcoming live shows (that you’re either playing or attending).
  • New gear you bought.
  • New songs or bands you love, or how you’re re-discovering a classic (this one is really easy)
  • Some new tool you use on the business side of your efforts (maybe you started using Evernote for keeping an archive of industry contacts)
  • New songs you’ve written or co-written (feel free to talk UP co-artists too!)

You might even mention that you dig working your day-job because every paycheck brings you 10% closer to your next studio day or an awesome effects pedal or whatever.

Finally, I’d like to talk about when you really don’t want to, or can’t say “yes.” Keep in mind you can always TRY to help. Let’s say someone loves Neil Young and wants to meet him. Well, unless you know Neil or his manager, it’s unlikely you can help, right? But what you might do is head home, hit up the internet and see if you can find a few tips others have used to meet famous people. Then fire off an email with a link.

It might not be an intro to Neil Young himself, but you never know how it can help someone until you try.

Action Step: Write down an example phrase you can use no more than 2 sentences long for each of the 5 examples above. Then, just like you would when working on a song lyric, edit them relentlessly until they are positive, precise, and clear. Start putting one or two of them to use immediately the next time someone asks you “How’s it going?”

We covered a lot in this email, but I hope you found it useful. If you have, please pass it along to a friend, or tweet it and mention my name (@andylykens). I would very much appreciate it!

In the final LHF article we’ll be covering WHO the best people are to find when it comes to advancing your career, and how to find them more quickly through genuine connections to build strong relationships.

Filed Under: Music, music business, music business development, music industry, Music Licensing, Music Marketing, Music Placement, Uncategorized Tagged With: Low Hanging Fruit, Series

Two Terrible Emails To Ensure You Will Not Get Your Music Licensed

January 28, 2013 by Andy

As my mailing list has grown and my twitter following increases, I’ve been getting emails from some of you. The crazy part is despite the writing I do, I still get some of the most ridiculously crappy emails you’ve ever seen in your life.

Today I want to highlight two such emails and encourage the folks that sent them to write down any complaints, put them in a letter, address an envelope, and then crumple it up and throw it away. There’s no helping you if you’re constantly sending garbage to people.

Here is the first email

BadEmail1

Seriously? They haven’t even changed their default mail name from “Yahoo! Mail” – and, oh yeah, they SPELLED MUSIC WRONG. Are you serious? How does this person expect me to respond? Here are a few responses that immediately jump to mind:

  1. NO!
  2. YES, I am able to, but I won’t.
  3. What the hell is “muaic?”
  4. Dear Yahoo Mail, I wasn’t aware that non-living computer entities were even self-aware, much less writing compelling “muaic” that I may or may not be able to listen to! PLEASE tell me more!

Look. If you can’t write a complete sentence, give up now. If you can’t do an inkling of homework BEFORE you reach out to someone, give up now.

People will tell you to follow your dreams – I am telling you to stop immediately following your dreams if you can’t write a complete sentence with properly spelled words – you’re wasting everyone’s time. I’m more compelled to open spam emails than garbage like this.

Moving on to email number two

This person can at least write sentences and has included their name. Big improvement.

However, they COMPLETELY miss the point of one of my FIRST key elements of marketing your music: they make it all about them.

I’ve blurred out the info but take a look:

BadEmail2

Do you see why people aren’t listening to your music? Do you get it?

If I sent you an email that was incredibly verbose and offered nothing but biographical information, would you ever read it? No, you wouldn’t. You’d sigh heavily, throw your sandwich across the room and run to cry under your bed.

Remember, your goal is to get the person to listen to your music, but you want to be relevant to the person you’re writing to.

If you want to jump-start your outreach efforts, subscribe to my email list. You’ll get a free 8-part music licensing how-to course delivered right to your inbox.

Filed Under: Music, music business, music business development, Music Marketing

3 Must-Know Music Licensing Contract Points

January 14, 2013 by Andy

Many musicians find the legalities of the music industry scary or, according to some research from my blog and newsletter, haven’t even looked at a contract. In fact, the music industry itself has made a point to tout it’s legal strength anytime someone tries to do something inventive and effective in the music space, rather than trying to learn from or emulate the result (zing!).

The fact of the matter is that yes, you do need a lawyer to review your contracts and licenses. However, you don’t need one in order to understand the fundamentals of a license. You see there are three key terms when a television show, film, or ad agency wants to license music. These 3 terms are also the foundation of negotiations and help determine the cost of the copyright to be used. Here they are:

Media: This is essentially the “what” of a music license. Will it be broadcast on TV, streamed on the internet, or will it be used for an in-house presentation? It can be any one, or any combination of, pretty much anything you can think of.

Term: This is the “when” of a music license. Licenses can be as short as a one-time usage or as long as eternity (called perpetuity). While there are few times as an artist you would want to license a song in perpetuity, this is something music libraries do with relative frequency. It also saves a huge headache for the producing company, and keep in mind a license in perpetuity is only for the ONE usage outlined in the media definition.

Territory: This is the “where” of a music license. This will delineate where exactly this particular project is going to show up. Will it show up all over the world? Will it just be in Ohio? Maybe it’s going to be shown at a convention center.

There you have it, the licensing basics. Keep in mind all of the above can be adjusted and negotiated and the cost of the license should reflect such adjustments.

One final point: It comes down to how many people are going to see a project, and how much you value your music, the exposure, and the project itself. If someone wants to license your song for all-media, worldwide in perpetuity (which I would HIGHLY advise against unless you’re running a music library), they’re anticipating a lot of people are going to see it. This means the exposure is high, which is great, but they’re also asking for a lot of rights which means it should be a cost consideration vs. the history of your song.

When it comes to contracts of course consult a lawyer before signing anything. But understanding these basics should help give you a good idea of how to gauge a music license and evaluate a proposed fee to ensure you’re getting a great deal.

If you’re REALLY serious about getting your music licensed, subscribe to my newsletter for a free 8-part how-to course, music publishing 101 audio download, and more!

Filed Under: Music, music business, music industry

Who Wants to License Your Music?

December 23, 2012 by Andy

In my last article, I mentioned recent efforts in getting to the bottom of what independent musicians want to know most about getting their music in film, tv, and advertising. By far, the top answer is “who do I contact?”

Who Ya Gonna Call?Today, I’m going to give you some ideas about who might be looking for music and where you can find them. Most of the information you need exists online as far as WHO you need to contact. Here’s a quick rundown of some GREAT resources.

Television & Film – It seems like everyday there’s yet another television show going on air and I would venture to say that 99% of them use music. The easy win here is IMDB. Check out a show you think your music would be appropriate for and bring up the full “Cast & Crew” details. Do a quick find on the page for the word music or music supervisor, and voila. Another idea is to simply check the credits on your favorite show that you DVR, and then Google the person’s name.

Advertising + Music

Advertising – Ad folks are no more difficult to find. Probably the biggest downfall to the ad industry is that the creative decisions might be funneled to a specific music producer but the final say is up to the end-client (the brand) or, at the very least, a group of creatives at the agency. This makes it tough because you can get into the running for a spot, but then at the last minute someone else can come along and veto. It can be a frustrating process if you let it get to you but if you learn to roll with the punches, something will come along. The best place to get contact ideas is AdWeek. It’s a cool publication all around if you have any interest in advertising outside of music, but they often post credits for their “Ad of the Day” where you can get names of specific people working on specific brands across the globe.

Video GamesVideo Games – Video games can be a bit trickier, but you have to remember that the people with the coveted positions as music producers and music supervisors have been interviewed, participated on panels, and generally are bombarded with enough attention that digging them up on Google is easy. Give LinkedIn’s search a shot, or try googling the video game company’s name along with “music supervisor” and see what you come up with.

People You Know – You probably have heard a million times that the best source of pretty much anything is your address book. I can’t emphasize enough that having a connection to someone who can potentially use your music will be the most efficient, least painful way to go about securing a license. Both parties involved will be more comfortable leading to more useful conversations earlier on. Hit up your Rolodex and see if you know anyone that works at an ad agency, in film or TV, or at a video game company. They don’t have to be THE music contact, but they will be able to help you in some small way if you ask.

Finding the right people is really straight-forward and easy to do. If you’re smart about it, you can put it to use TODAY to start building relationships with the proper folks. I’d like to emphasize “building relationships” and not “sending emails all about how great you are.” Keep that in mind before you start dropping emails to folks, they will VERY much appreciate a genuine connection versus yet ANOTHER artist sending them more music they’ve never heard of and don’t care about.

Filed Under: Advertising Music, Music, music business, music business development, music industry Tagged With: Film/TV Music

Did You Blow A HUGE Opportunity?

December 12, 2012 by Andy

Comment on this post with your action steps from the latest email!

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Filed Under: Music, music business, music business development, music industry, Music Marketing

Should You Choose An Exclusive Contract To Get Your Music Licensed?

November 7, 2012 by Andy

Previously I discussed some of the pros and cons of signing a non-exclusive contract to get your music licensed. It’s definitely an interesting option and can provide a lot of opportunity. But before you go uploading your music to Pump Audio, why not consider all options?

Always consider all sides of the story...

Exclusive deals can be very rewarding experiences not just from a monetary stand point (though that’s certainly nice), but also from an artistic one. However, they’re definitely not as easy to come by and there can be other drawbacks to signing on with a major publisher or label.

Let’s check out a the pros

Pros:

  • Perceived Value is Higher
  • Retain Greater Performance Royalties
  • Better Synch Fees
  • Better Percentages
  • Creative Control

It all starts with perceived value

When I was pitching music for ads at a music library it was usually a struggle to get them to consider a library song versus a commercial track. In most cases I got the phone call only when the budget was low and not before.

Was the music quality THAT much different between the two tracks? Generally speaking, no. In many cases you could easily send a library track and commercial track and save for the name attached to it have no idea which was which. That’s the power of perceived value; big money opportunities are more available.

Performance royalties, sync fees, and percentages…

The number 1 fantastic thing about an exclusive deal is that all fees and percentages are negotiable. It doesn’t matter if you’re U2 or You Who?, you too (see what I did there?) CAN negotiate to some extent (and I’ll talk about how to do that as a little guy in a future article).

The bottom line is: any additional percentage you can get negotiate pays dividends.

Negotiate.  Always.

Creative control

For the most part music doesn’t get pitched for political or religious advertisements just out of principle. However, how stoked would you be if your song got placed in an ad for a discount furniture store? If your answer is “ehhh,” that should be a clue about which contract to pursue.

Think of all the products you see at your local drug store and if any of those (like adult diapers or prescription drugs) are not something you’d want to attach your music to, then creative control is an important thing for you. You also get the opportunity to turn down jobs that don’t pay enough (you hoity-toity art-nerd).

Looking at the list initially it may seem like a no-brainer – hit the pavement and get after a major label or publisher. But hold on, there are some cons to consider before you go hucking your wares to Universal.

Cons:

  • Difficult to secure
  • Lost in the shuffle
  • Are they pro-active?
  • Organization

Don’t overlook how difficult it can be

It can take years. In fact they can just not happen at all. However they DO still happen and they are out there. If you decide to go for it, do it with all your heart and soul. Just know that like anything worth having, it is tough work!

Lost in the shuffle

Major labels and publishers have some pretty amazing music to tout when it comes to placing music in film, TV, and advertising. On top of that, they also have a ton of other music that is maybe not so amazing, but that they still need to make money on.

For that reason its possible you’ll get lost among the other artists in the catalog. You might make the same case for non-exclusive style companies, but keep reading as the next two items are what REALLY separates the wheat from the chaff.

Are they pro-active?

Many companies are changing but still far too many wait for the phone to ring or depend on clients to reach out to them. So sure, they may get a call when someone has $200K to spend on a Super Bowl spot, but guess which artists get first dibs on that kind of money? So if you’re not a superstar, you need to MAKE SURE the company you’re signing with is abreast of as many opportunities, large and small, as possible.

Don't let your publisher or label be lazy!

Organization

They’re not sure who wrote what, they don’t have useful systems in place to help them find the right music, and maybe they don’t even know who represents the other side of the sync placement. Yikes. This means you could miss an opportunity simply because the company doesn’t know some critical business facet. Some entities really have it together, and some can barely make it to work.

In the end, whichever route you decide to go just be aware of the potential caveats. Now there are more and more people offering services and opportunities to up-and-coming writers. If you do your homework, chances are you can land somewhere that will be a great fit!

As always please leave a comment with your own stories. I’m always looking to hear more about your experience and answer questions!

Filed Under: Advertising Music, Independent Music, Music, music business, music business development, music industry, Music Marketing Tagged With: contracts, exclusive contracts, labels, licensing, music business, publishers, sync

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