Andy Lykens

Innovating and operating through growth

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Milestones

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Sometimes I get stuck in a trap. I think to myself: “Ah, once I achieve this next thing, then all will be well!” This is of course ridiculous.

Imagine pushing a boulder up a steep hill. When starting out on the journey, you can see some of the long, arduous path in front of you. You expect the other side of the hill should be much easier though you aren’t quite sure exactly what will happen between here and there. But you begin to push the boulder up the hill having a general expectation for the future.

Up and up you go, leaning into the boulder, sometimes changing positions to give muscle groups a break. Assuming no major unexpected events (which are entirely possible), at some point you get to the peak and think “It’s all downhill from here!” This too is folly – predicting a future that may never arrive. And then you can push once more, just like you did every step of the way to reach this point.

But the next thing that happens probably isn’t that you win the game of life and have everything you’ve ever wanted and feel completely fulfilled.

It may be that your journey is on a new course, that things are easier, or that you finally see something that your previous perspective blinded you to. Things could also be more difficult, or the next push may send the boulder on an unexpected turn. You may also get to that peak and decide you’d rather not push boulders anymore, and leave the boulder at the peak to pursue basket-weaving.

What’s certain is at the moment on top of the hill, ready to push the boulder down the other side, was only made possible because you already put in so much effort. In fact, the next push is only possible because you decided to begin in the first place and then kept showing up to push the boulder. The hill’s peak may seem like a significant milestone, and you may appreciate it as one, but it is no different than all the previous pushes except that you’re stopping to appreciate it.

No matter what happens, you reap at least some benefits of all the pushing (exercise, problem-solving, determination) even if you walk away from boulders altogether for the rest of your life. Even if you quit the boulder-pushing before you’re done, you at least know that boulder-pushing isn’t for you.

Most of the time, to achieve anything that is meaningful to us, it is a long, slow climb and we wind up at the end of the achievement (should we accomplish it) much the same as we were at its outset – perhaps even missing the scenery.

Ask These 9 Questions To Ensure A Great Music Licensing Partnership

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When evaluating the decision of choosing between a non-exclusive or exclusive deal to represent your songs for placement in advertising, I’ve had a number of folks reach out and ask for more info.

Every case is unique but the general goal should be the same: get as much information as possible.

In that interest, I’ve created a list of nine questions that help you spark intelligent conversations and aimed to drive responses that give you real metrics which can better inform your decision-making. You can also tweak the same questions to make them relevant to ANY music business deal.

Also, while you certainly could email the following questions I would instead advise that you pick up the phone or meet in person. You will learn a lot more face to face than you will by reading an email response.

What to ask your potential music licensing partner…

1) Approximately how much synch revenue did they generate last year before royalties?

They’re unlikely to disclose this information, so to follow-up to this question ask….

  • Can I see a rate card or can you ballpark what you charge for the following usages of music similar to mine?
    • National TV promo
    National TV in-program
    National commercial
    Film Trailer (Worldwide)
    In-Film Use (Worldwide)

2) Do they have a reel or 1-sheet that I can see (what they use to pitch their catalog)?

  • This will give you a good idea of what their promotional materials look like, and also let you gage how much work they’ve done (ie: their reel shouldn’t just have placements from 1 show, or from many shows that are no longer on-air).

3) Do they take the publisher’s share of the performance royalty? Is this negotiable?

  • Most places will probably take the publisher’s share but some will let you negotiate how much. Always ask!

4) Can you give me a rough range of how many placements you land each month? year?

  • They should be able to tell you exactly how many they get to be honest, and it should be a point of pride. If they’re new to the game they obviously won’t have that many.

5) Roughly how many ad agency music briefs do they get per month?

  • Anywhere between 5 and 15 would be reasonable. You may want to follow up by asking which agencies they have the best relationships with.

6) Who are their go-to TV and Film Trailer editors or houses?

  • This should get them talking about specific clients they have just to lend some credibility. If you’re talking to someone who isn’t on their sales staff, you may want to request she find out for you.

7) What are current film or TV projects for which they have been solicited for music by music supervisors?

  • Do some research on Variety or IMDB before your meeting and make sure you know upcoming film or TV shows in production so you can gauge the validity of this answer. You might even have the name of the music supervisor on a given project in your back pocket so you can say something like “Oh, so you know _____ ” should they bring it up.

8) What channels of marketing do they use to outreach to their client-base:

  • Generally, they should be doing email, phone calls, and in-person meetings. Some places will also do physical mailers and trade shows. You can also ask if they have a dedicated sales staff.

9) Can you send me an example of any marketing material you send out to your clients?

  • This lets you see the quality of their marketing material. The impression it leaves on you is likely to be similar to the impression it leaves on their clients.

These questions will act as an excellent spring board for more in-depth conversation and help you better decide whether or not to go into business with a potential licensing partner.

If you like this article, get more info on how to get your music licensed and published by subscribing to my newsletter here.

How To Start Crucial Music Industry Conversations

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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.

A Recent Email To An Independent Musician Like You.

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I recently responded to a friend’s email and I realized it has some fantastic tips that every independent musician can use if they’re looking to take control of their music career, get their music licensed, or simply improve their music marketing. Here it is (edited for anonymity’s sake):

It is my personal view that musicians need to know that they are entrepreneurs, and not by choice!, with the industry the way it is currently.

The reality is you can do pretty much everything you need to except for have a lawyer review contracts – and even that you can learn a lot on your own (but seriously, always have a lawyer review). You may have already realized this.

So to get started, you should focus on areas where you think your music will excel – I’d recommend honing in on a specific media (ie: advertising, film, tv, video games). Each of them have their own plusses and minuses, however if you have a particular contact or know someone who works at the following (I just wrote a piece on this to my email newsletter (you can sign up here). It’s free but I try to provide real actionable advice for independent musicians just like you):

Advertising:
– Ad agency: Loads of folks work at these, you need to talk to individual ones. See the newsletter for specific titles, but friends are your BEST inroads.
– Brand: You want someone in the marketing department ultimately. Often times brands let the agency choose the music, however if it’s a music centric brand like Coke or Pepsi, they get more involved.

Film/Tv:
– For TV you’re looking for production companies that are working on particular TV shows – you can find these by watching the credits on any show that you think your music could fit with.
– Films are no trickier, check out Variety – you want the general status of the film to be in post production (where they typically are licensing the music).

Video Games:
– Most major video game companies have music departments that deal with licensing the music they want and hiring composers. For composing custom, you need to be in touch with the “audio” folks. For music, they’ll have separate people of varying titles. Some googling goes a long way

Also, if you have a bunch of scratch tracks that never turned into songs, or songs that were never released, I highly recommend digging them up. It’s nice to have more to offer. You can also mess around with cutting them down into 30 and 60-second versions.

If I were you, I’d start talking to your really good friends and see how many of them know someone at an agency, production company, or work in TV & film. You might be surprised. Then try to arrange a meeting with that person (or if you know someone directly, even better).

More questions? Let me know – and seriously, the newsletter will be useful to you in a lot of ways.

Also, I go into A LOT more detail about building genuine relationships and how to put your best foot forward when pitching yourself. I’ve also covered some great info on what to say when you find a great connection.

Again, you can sign up here.

6 Ways to Get Your Music on TV

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First, I’d like to thank everyone who has written in and asked me questions. Keep them coming! Please keep in mind if you’re just asking me stuff that you can easily find out by using Google, it is unlikely I’ll be very helpful in my answer (which might literally be “Google It”). Blow me away with your requests and I’ll blow you away with my answers!

That said, I did have a general question from Erin Hill and her Pyschadelic Harp (which is pretty cool I must say) that serves as a great jumping off point for some action on your part:

How do I even get my stuff considered for commercials?

The short answer to this question is “hit the pavement.” Luckily, I’m going to give you the long answer too!

There are several options when it comes to getting your music in front of people who consistently license music. Here are just a few ideas to help get you started:

1) Contact them directly – This is definitely the hardcore sales route. It is probably the most daunting and least appetizing approach, but it also allows you to play some solid odds. While there really aren’t that many people directly in charge of music specifically at agencies, there ARE a lot of people involved in the final decision. Use your current connections and see if you know someone who knows someone and reach out.

2) Non-Exclusive Companies – The last article I wrote was 2 parts and detailed some companies like Jingle Punks and Pump Audio who represent music for placement in film, TV, and advertising. This is probably the EASIEST thing you can do. However, you have zero control over price, exposure, there is a ton of competition, and so on. Read the full article for more. All that said, if you’re just cranking out music and your goal is side or passive income or hobby money, this can be a great option.

3) Synch Companies/Reps – These guys are basically are similar to non-exclusives; their goals are the same, but they work with “real” artists and take a fairly hefty percentage of fees. They can be individuals repping certain catalogs or artists, or companies looking to find the next big thing via synch opportunities. These people are really great at what they do and provide the same services as a major publisher or label might, but only to music supervisors and producers (generally speaking).

4) Majors/Major Indies – Everyone knows enough about these types of companies to know that some are definitely better than others. Do your research before picking which ones to shop your music to and be sure they have a pro-active approach to licensing music (most at least KNOW this is important at this point). The issue here is that you’re being VERY indirect about getting music placed since it takes lots of effort and time to land a deal. They also aren’t always the most organized entities and getting paid can be hairy and inaccurate. The benefit is that usually you get some sort of advance (which is recouped however) to float you for a bit. They also will go over more than just licensing opportunities for you and have a lot more resources and financial backing. Key skills: determination, live performances, people-skills, consistency

5) Music Libraries – Libraries are basically a combination of Majors + Non-Exclusive companies. These guys are great in the sense that they are hyper-active about getting their catalogs used. The bad news is the dollars are small and they keep most of them. You’ll want at least 5 albums of material to pitch to them as a “library” to make it worth your while, and then also be sure they know you’re available to write custom music for any projects that arise. Library music is great for the same people who can take advantage of non-exclusives. If you’re an artist, you could look at them as a way to exploit and side-project instrumentals you may want to work on, or as an outlet for custom scoring for ads, trailers, and TV promos. Usually you’re paid a flat fee for any track you write, plus you get your performance royalties. The other nice thing about libraries is they’re really aggressive about collecting/reporting their income.

6) Get Notorious – Obviously there are positive and negative ways to do this, but let’s keep it on the up-and-up! This essentially just busting your butt creating AMAZING music, playing live, and driving metrics that you can present. If you’ve got a million YouTube hits, someone should be taking notice of you. Thousands of Twitter followers? That’s a great start. Simply being a great music entrepreneur can drive you into some amazing opportunities all on it’s own. And while this may be obvious, it may NOT be what you’re currently focusing on. More on this in a later article. Suffice it to say, get great, and get great at touting your greatness.

Hopefully this gives you some ideas about where to start when it comes to getting your music licensed – keep the questions coming (the GOOD questions!) and don’t forget to follow me on twitter.

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!