Take the guesswork out of getting your music on film & TV.
Here’s a list of answers to some frequently asked questions.
Awesome! Alright, let’s first find out if we’re a good match. I strongly suggest to connect via Facebook right here so we can identify your needs and offer you the right service. If you don’t have Facebook to connect, please enter your email here and check your inbox for further instructions.
You are able to pay with all standard payment methods, including a credit or debit card (Amex, MasterCard, etc.), Paypal, Bank Transfer or eCheck.
1. Proprietary Algorithm
We have built an algorithm to know when projects are active, who works on them and when they are done without having to bug a music buyer every few weeks. In fact our records are updated every single week.
2. Insider Research
We have conducted additional research by calling each music buyer to find out how they prefer to be contacted. We also ask whether they are open to work with new score composers, etc.
We have created cool-looking charts & statistics based on what actual music is used by music buyers so that you can more intelligently match and approach music buyers for the right projects. You can even listen to actual music used by music buyers by projects, that’s how detailed it is.
We list all film & TV projects you can watch on major TV networks or in cinemas, whether that`s on HBO, the CW, NBC, Fox or many others.
Note, we do not list music requirements as these change daily and we advise you to check with the music supervisors directly.
We recently introduced a new feature – called a “genre-meter” – that breaks down the historical music selection by a music buyer so that you can better match your music catalog with what a supervisor has previously used for his or her projects.
Music supervisors that have worked on the top film, TV, video game and advertising projects around the world, from London to Japan, Chicago to LA and many more.
The music buyers have worked on projects ranging from â€œPirates of the Caribbeanâ€ to â€œFantastic Fourâ€, â€œHeroesâ€ to â€œEntourageâ€, â€œAmerican Expressâ€ to â€œCoca Colaâ€, â€œGuitar Hero IIIâ€ to â€œTomb Raider and hundreds more.
The project listings are updated on a weekly basis.
This way, you will never miss out on any big projects, giving you the opportunity to be the first to pitch your music.
If all you’re looking for is contact information for music buyers, that’s not what we sell, since that is information anyone can already gather without us, at no cost from various sources, not least from public records.
No, you get to keep everything you earn. We do not ask for any percentages or fees.
MusicSupervisorGuide is not:
We do not have a platform to showcase your music. We also don`t license your music or pitch music for licensing opportunities on your behalf.
As above, we do not pitch music on your behalf.
We do not administer royalties, pitch music or handle any legal contracts.
We do not promote anyone`s music.
We don`t sign any artists.
No, we don`t act as an intermediary. We just provide you the tools. You still need to pitch on your own.
If you need more help on how best to go about pitching and placing music, please check out the “Music Placement System” www.MusicPlacementSystem.com that takes you through the song placement process step-by-step.
Your dedicated sync team should be focused on placing music. However, the reality is that most sync teams are spending hours of daily research and cold-calling, trying to find out which projects are active, who to contact or even finding out the right contact details.
Your team cannot effectively focus on:
(1) being the first to pitch music
(2) selecting the right music
(3) building a strong relationship with the music supervisor or music buyer
(4) being proactive in reaching out to the right music supervisors before projects become active
(5) arranging legalities to secure placements
Let`s look at your alternatives:
1) High start up costs: If you`re not already a subscriber, as a music publisher or record label you probably purchase access to individual resources such as Redbooks, which cost you $4,000 per year alone. This does not even give you any information about who to contact for your purposes of placing music.
2) Inconsistent and non-unified data: You can buy individual directories for film & TV that often-times contain indirect contact information, such as to their lawyers and agents. You would also have to purchase other directories for advertising (as mentioned above), and video games separately. Keep in mind that this part of our service is already offered into a single instantly searchable tool.
3) Hiring and training research support: You can hire full-time research assistants, which will cost you a lot of time and money. There`s never a guarantee and you might run the risk of having to re-hire and re-train your assistants every few weeks.
4) Risk of not having continuity: Let`s be honest, your sync team is a precious resource and if a key member on your team leaves, you don`t want your operation to come to a screeching halt. Continuity and evolving intelligence is maintained with our service and minimizes the risk of your operation to be dependent on a single resource. Instead it supports your team in all key areas and allows them to focus on placing songs.
5) Sync team costs: You may be spending a considerable amount of money on maintaining a strong sync team. Consider investing into a service that will boost each member`s output. Provide them the strongest tools to succeed.