The Music Business Buddy
A podcast that aims to educate and inspire music creators in their quest to achieving their goals by gaining a greater understanding of the business of music. A new episode is released each Wednesday and aims to offer clarity and insight into a range of subjects across the music industry, all through the lens of a music creator for the benefit of other music creators. The series includes soundbites and interviews with guests from all over the world together with commentary and clarity on a range of topics. The podcast is hosted by award winning music industry professional Jonny Amos.
Jonny Amos is a music producer with credits on a range of major and independent labels, a songwriter with chart success in Europe and Asia, a senior lecturer in both music creation and music business at BIMM University UK, director of The SongLab Ltd and the author of The Music Business for Music Creators.
www.jonnyamos.com
The Music Business Buddy
Episode 53: The Key Steps to Sync Placements
Ready to break into the world of sync licensing? Before you can land your music in films, TV shows, or advertisements, you need to master the crucial preparation steps that most artists overlook.
Jonny Amos dives deep into the foundational elements of sync success, revealing why understanding your song's true essence is more challenging—and more critical—than most creators realize. "A songwriter could be preoccupied by the emotion felt when writing, yet a different mood emerges in the final production," Jonny explains, highlighting how this disconnect can prevent your perfect track from being discovered by music supervisors.
Metadata emerges as the unsung hero in sync licensing. Far from being merely administrative, your song's metadata acts as the bridge connecting your music to licensing opportunities. Music supervisors filter through thousands of tracks using specific search parameters—from mood and genre to tempo and instrumentation—and without precise metadata, even the most suitable track remains invisible. Johnny breaks down exactly which elements must be included and how to categorize them effectively.
The episode tackles the often-overlooked clearance process, explaining why every contributor to your recording requires a signed release agreement before licensing can proceed. From session musicians to producers, these agreements establish clear ownership and prevent potential legal complications. Johnny generously offers free templates for these essential documents through his website.
When you're finally ready to pitch, preparation is paramount. Music supervisors work under tight deadlines and need immediate solutions—having different versions of your tracks ready demonstrates professionalism and increases your chances of placement. Understanding which visual contexts your music would best enhance allows you to target your pitches effectively rather than sending material blindly.
Whether you're an independent artist or working with a team, these foundational steps will position you for success in the competitive but rewarding world of sync licensing. Get ready for next week's follow-up episode, where Jonny will explore exactly how to pitch your now-prepared music to the right industry contacts.
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The Music Business Buddy. The Music Business Buddy. Hello everybody and a very warm welcome to you. You're listening to the Music Business Buddy with me, johnny Amos, podcasting out of Birmingham in England. I'm the author of the book the Music Business for Music Creators, available in hardback, paperback, ebook format. I'm a music creator with a variety of credits I'm a consultant, artist manager and I'm also a senior lecturer in music business and music creation. Wherever you are and whatever you do, consider yourself welcome to this podcast and to a part of this community. I am here to try and educate and inspire music creators from all over the world in their quest to achieving their goals by gaining a greater understanding of the business of music.
Speaker 1:Okay, so we're talking about sync this week and actually, strangely enough, this is a subject that I've not really picked up since episode four, where I interviewed the brilliant Brian Hinckley from Gratitude Sound in Boston, on the east coast of America. That was a great episode. If you've not heard it, do cycle back to that episode four. Brian talks about his career, his knowledge of sync and music supervision, which is immense. It's brilliant, but it's just not something that I've picked up on since, so I thought I'd run an episode on it, with a kind of focus of, like you know, a simple start to sync. So, in other words, you know how does it work, what do you need to know about before you can pitch? So that's what we're going to focus in on and let's get started All right. So sync is it's just short for synchronization right?
Speaker 1:It relates to the business of attaching songs or music to television, to games, to ads, to films, to any other use that will aid a visual source in some form of media. That's pretty wide, isn't it right? So songs play a very, very vital role in aiding visual content. You know this could apply to I don't know a romantic film scene that is curated by the central message of a song's chorus, or maybe a TV ad that has a marketing message that gets across through the emotion that's derived from a song actually aids. A visual is a very respected art form and discipline and it's critical, really, for music creators to gain an understanding of the kinds of visuals that their songs could be suitable for, and that actually requires an understanding of the essence of a song. Now, guys, I get it. I know that the dream is for someone else to do that, and sometimes they do, but generally they don't. So it's very important that we know what we're selling. So let's break that down a little bit further.
Speaker 1:Right, it starts with the essence of a song, and by that what I mean is what mood is being created. By the way, you can't really pitch for something until you get some of these things right, and that's the purpose of today's podcast really is to prepare before that pitch. So the essence of a song, right, perhaps you know, more often people refer to it as the vibe, right, vibe short for vibrations. What vibrations does it give? So the mood is the overriding emotion, right, which attaches itself to the sort of the very spirit of the song. Right, it's one of the key factors in how a song actually aids a visual. So, you know, many music creators might struggle actually a little bit maybe, to understand the key emotion of their own songwriting and may instead, you know, be more effective at judging the mood of songs that they were not involved with, right, you know. So it often takes a certain sense of objectivity and perhaps even sometimes distance from a song to accurately absorb its emotional content, and a songwriter could maybe be preoccupied by the emotion that they felt when they wrote the song and consider that to be its key mood, where in all actuality a very different mood has actually been established once the song has been fully arranged, produced, mixed, etc. So also lyrics right Lyrics can often be a rather large indicator as to the mood of a song. But the complexity of the chords or the placement of the melody can shift the narrative quite dramatically. So, for instance, a romantic, a romantic kind of melancholic lyric that talks about heartache and loss can sit inside of a song that feels also quite uplifting and hopeful, you know, especially if the other elements of the songwriting process reflect that. So a particular style of arrangement maybe, or maybe even just the production values, can also be really quite sort of key facets that can shift how a song feels and connects with an audience.
Speaker 1:So it's crucial to understand the key mood of a song, and some people are better at that than others. Some people are really good at understanding it and not being able to articulate it. You need to be able to do both right. So one word moods are very, very important when labeling the metadata of a song. I'll come back to that a bit afterwards, because that is what on offers that sort of instant identity to music users who may be interested in licensing a song. Let me just tell you why that's so important.
Speaker 1:So one of the ways that music users search for songs is through text or voice to text speech. So one of the ways that music users search for songs is through text or voice-to-text speech. Now, one of the things that they do in order to do that is they look at various different indicators of what the song represents, which all links to metadata. But if you get the mood of the song wrong, one of the first things they're going to search for perhaps is mood right. So if you're looking for something that's sassy and sexy and actually your song isn't that, but you've said it is, then they're going to click it and not want it. There's not really ever going to be a moment where they go, oh, this wasn't what I'm looking for, but I really like it. That's just a sentence that's rarely, rarely said in the music supervision world.
Speaker 1:So it's very important that we get the mood right. All right, get the mood right, all right. What about the? The genre definition? Right? So that I'm talking about the primary and the secondary genres of the song.
Speaker 1:So you know, there is often perhaps a tendency for many of us kind of music creator people to you know pour their hearts and souls into creating a song and then only afterwards try and figure out what style it falls under. And there's no crime in that, by the way, anybody because that's where the art comes from, isn't it? But it could be said that many music professionals actually often do it the other way around. Now, neither is fundamentally right or wrong, but the latter approach generally yields greater results in the sync world, as it's pretty important to know which genres you're actually working in. This is because, again, many music users will use search functions inside of music libraries to filter their approach to locating the songs and music that they need. So if they search for progressive metalcore, they may be looking for, you know, an American sounding mathematical and technical piece of music with sort of atmospheric elements and soaring fast lead guitars to aid a documentary about extreme sports and adrenaline. Right there in that moment. That's what they need. They don't want to hear a British sounding indie rock band who have mislabeled their song's metadata. So you know, on another day, that same music user may well want to find a British-sounding indie rock band singing about lost romance in a disco, because it fits with the TV drama that's set in the 1990s that they're doing the music supervision for, but not at that moment, right, the trouble is that that same band won't be found if they've mislabeled their metadata because they didn't understand their genre definition as well as perhaps they should have done, right.
Speaker 1:So it's really important that music creators understand, you know, where their primary and their secondary genres are, as these link directly to the discoverability and the visibility of a song, right. So it can be difficult, of course, right, to pinpoint the exact genre for some songs, but there should at least be a primary genre that governs a song's overall classification. So, you know, if a song is lo-fi, neo-soul, uh, you know, with vocals and guitars, then it can quite comfortably sit inside of r&b as a primary genre, for example, example. And then the secondary genres can be neo soul and lo-fi. If it's I don't know, a dance song with tropical-sounding sort of claps and marimbas and stuff, the primary genre would be electronic dance music or EDM, right, but the secondary genres would be house dance, pop. So it can often be useful to use kind of internet search engines to find out the genres of existing artists by searching for their name followed by the word genre. I'll level with you. I actually do that quite a lot. I find it so useful. But this can lead to some surprises, right, because how certain artists are defined in terms of genres. But you know, it does offer a bit of insight into different options.
Speaker 1:Another thing to think about are what songs and artists are in a similar style. So many music creators have a natural inclination to be different from anyone who's ever come before them, but that's also a counterbalance that came against the inspiration points that got them to want to write that song. Now, that's an undeniably positive thing on a fundamental level, because that's what creates art, right. However, a music you know a creator's music is, is an incredibly sort of tough sell if it does not fall into a recognizable style which is in at least partly comparable to other artists and songs, right. So being categorised by comparison is actually a really important component of song discovery and a crucial element in sync, because it's a common reference point that's used by music users, the people that actually licence music. So also, it can be very useful when it comes to what they refer to in the music supervision world as replacement tracks. So it might be that the music supervisor has a temp track. This is kind of similar in style or vibe to what we want. It's this Foo Fighters song over here, except we can't afford it on our budget, so we want something similar. So you see how they'll use that as a kind of reference point to be able to pivot from to find something similar. It's for that reason that similar songs and similar artists are really really useful metrics.
Speaker 1:Sync agents are in regular need of a specific type of sound right. So they get a lot of requests from various music supervision teams for a range of like television and shows and film spots. But often the you know the, the the summary of what they're given is quite brief but also kind of specific enough for them to be able to understand it. So, for example, something like we need gritty rock in the style of the White Stripes, with a wild and dangerous attitude. Songs can be with or without vocals and should include organic instrumentation with no electronic elements. Those are two quite short sentences but they do kind of help a music provider let's say a sync agent in this case that signs songs from composers to be able to understand, you know, if there's something in their library that fits that.
Speaker 1:Now, another sort of typical kind of lead would be, you know, something like we are looking for a song that has a quirky bedroom pop vibe with hints of jazz and boom bap. It needs to feel bright, youthful, hopeful See the keywords in the style of Rex Orange County. So again, we've got, we've got the same points there, right? So we've got moods, key indicators, and we've also got styles. So we've got boom bap've got jazz. So we can see that we're looking maybe around 90 bpm it's the kind of jazzy chords, extended chords, over a kind of hip-hop beat, uh, you know, in the style of a reference artist.
Speaker 1:However, the movie director has also stated the need for an introspective feel in the lyrics and vocals is important. It's a coming-of-age movie that focuses on a central character. We feel that Bruno Mars is probably a good reference point for the vocal or lyric. So you know, straight off the bat, there you're kind of getting this. You know, I made that example up, by the way, but it's the kind of thing that I see a lot and you know, music creators can kind of look at something like that and go well, you want Rex Orange County, but you also want Bruno Mars. Well, that's a bit difficult. Actually, it's not really what they're asking for. What they're asking for is, musically, rex, orange County, but lyrically, bruno Mars, and actually there's probably quite a lot of songs that do fit that. So you know again, the supervision team, or the individual supervisor there, knows exactly the kind of vibe that they want to portray in that project and it's in keeping with the tone of their project right that their music choice is actually as trying to curate. So they're very particular about what they want and they have very specific reference points. So you can tell by the nature of a short lead like that um, that it's.
Speaker 1:You know that the program or film is complete and the final part of the process is to find the right sort of songs to fit within a very specific time frame. So you know, another example could be something like we have a fashion show edit. That needs music. It needs to be flamboyant, it needs to be edgy and sassy. A hybrid between Girls in Bikinis by Poppy and Void by Melanie Martinez would be ideal Bang. That's literally two short sentences, but it rules out an awful lot of music and rules in very, very, very specific options which need to be found through a search facility, and the search facility is informed by metadata.
Speaker 1:Okay so, metadata this is a really really interesting one, right, because it's such a crucial aspect in this sector of the music business. Um, I mean, it can also look a bit different, uh, from the kind of metadata that a creator would send to a distributor or what a record company will create. There's a sense of urgency expected by music users, right, when it comes to obtaining clearances for the use of, when they wish to licence, you know, a particular piece of music or a song for a project, so it's really, really important that the right data is actually delivered. So it's a good idea for music creators to keep an Excel document of data for their song catalogue, as it provides key pieces of information that are then made available to music users, who can then use their web-based filters to find the type of song that they're actually looking for, with those crucial kind of drop-down boxes and vital information pieces. So, you know, I'm going to give you an example of some different pieces of metadata that are most useful in sync, but what I will say is this it used to terrify me, right, when music publishers or sync agents would go oh yeah, we want to sign this song, here's a contract and here's a metadata document and you'd open it up and it's usually Excel, right, because it exports brilliantly into websites and stuff.
Speaker 1:So you look at the Excel doc and you go whoa. Look at all excel doc and you go whoa. Look at all those boxes in there. Oh my god, am I supposed to like answer this? Yes, is the answer, like the again, the ideal here would be to have, like you know, the publisher, the sync agent, whoever, to be able to do all this for you. Now, maybe some do, but I've never met any like. Every time I've ever done this, it's always been on me or one of my co-creators to fill these boxes in.
Speaker 1:So you need to have the answers for this and if you get it wrong, it restricts visibility because people won't find your music when they're looking to license it. So these are the key things. Firstly, a key point of contact for actually clearing the rights, right Together with the name, the email address and the phone numbers, that's the lead contact person for the actual song and the recording of the song. That might well be you, right. Then you've got the song title. A lot of people search by song title. This is why I talk about the importance of song titles quite a lot to people. The uh, the important the song title really has to be able to kind of explain what the song is doing. So so in sync it works really well to have the title either on the entrance line or on the resolve line of a chorus. I know a lot of people don't like to do that artistically but it really helps in the sync world if you do.
Speaker 1:The name of the artist, obviously the album name if it's on an album. You'd also need the copyright holders of the song and that's together with their full names, that's like their passport legal names, not the artist or the writer name. Also their IPI numbers and their performing. That's Interested Party Information. By the way, ipi, interested Party Information or think of it as a membership number that you get from your performing rights organisation. You'd also need to list your performing rights organisation, so it's PRS, ascap or CODA, whoever it is, wherever you're located, and then the percentage of the split of the copyright of each writer. So this should also include the names of the music publishers and also their IPIs and their PROs and their percentage split of the copyright. So it's really, really important and this has nothing to do with the recording, by the way. I'll come on to the recording metadata in a minute but just the song metadata is very, very crucial that there is a very, very, very clear understanding as to who the owners are here for the use of the song. After that there's the owners, the master rights of the recording. So whether that's an artist or a label or manager or some other entity, or if there are joint owners, you know their full names and their percentages of the masters are also required the year of the release, if it's released.
Speaker 1:It might be that the song isn't released and that's fine. It doesn't need to have been a hit to be successful in the sync sync world, that's for sure. But if it has been released, then you'd need to put the year of the release. Um, the songs beats per minute right. It's the bpm and tempo field. Now, the bpm is really, really helpful. It's a really important metric. Um, it's also a description field as well. So there's two different ways that people usually search for tempo. One is by number and one is by description field terms. So that could be down tempo, mid tempo, up tempo. It can even be fast, very fast. I mean, it sounds really basic, but I can immediately think of many sync websites that use words like that, that help you use it, music users to find music. So to have you know kind of a term and a number will really help a song's kind of discoverability.
Speaker 1:If a song contains lyrics, it's important that some of the words of the lyrics or the story or the message are also entered into a specific area of the document. Right, you'll see this on an Excel form. So this is because some music users like to search by lyrics to locate specific songs. So, for example, if a music supervisor is searching for a song to aid I don't know a mysterious visual of a girl holding a red balloon in a particular movie, then if there's a lyric in a song somewhere that actually supports that, then they're going to be very interested in using it. If lyrics are explicit, that will also need to be mentioned and it's usually just a yes or a no as to whether the song contains explicit lyrics. I mean, I know that sometimes for things like radio that's a problem, but it's not always a problem in the sync world. But it's just useful to know, especially if a TV production company is working on something for children and obviously they don't want any naughty words in there. So that's something they're going to use to help them to understand that.
Speaker 1:The genre we mentioned genres earlier but the primary genre of the song, possibly at least two secondary genres that also help to support the correct identification of the style of the song, usually key tags as well. So one word categories in kind of hashtag. Style format associated with the song's identity can also really helpfully quickly sort of define the genre, the mood, the title, the theme of the song. One word, kind of you know a list of one word mood descriptors. The file format will also need to be listed in there. Whether or not the song has vocals would usually be listed in there.
Speaker 1:Also very often an instrument list. So some music users like to find songs by searching by instrument. So it's advisable to list as many of the instruments used in the recording as possible, especially the more prominent instruments. So even if they're software instruments, by the way and I've asked this to a few people before even if they're like V, by the way, and I've asked this to a few people before even if they're like vsts or software instruments, um, you know, or sample libraries that either sampled or synthesized sounds, you know, if you've got um, I don't know, say midi, brass, but you know it sounds like midi, it sounds like brass. Sorry, then put brass, you know. Or more specifically, you could put trombone, trumpets, etc. Um, samples also very important.
Speaker 1:So there's often a section asking about the use of samples. Now, this generally refers to whether the song has sampled any sections of other records that have been previously released. It rarely actually has anything to do with the use of royalty-free sounds and loops. However, what I would say to that, it comes with a little caveat. I have noticed, over the last year or two, more companies now asking for the understanding as to where some of those sounds were sourced. So if they were from a royalty-free sample pack, that's fine, but they might ask you for the sample pack. Or if it were, let's say, a contact instrument, you just say what instrument it was. Again, not everyone's asking for those kind of things, but I've noticed that with the ongoing evolution and use of AI in music, that actually a lot of people are starting to become more. They're questioning more as to what the source was for the creation of a particular sound. You might not get any questions about that, but I have noticed some asking that more. Okay, onto clearance right.
Speaker 1:So this involves clearing the use of both a song and its recording to license them for use in commercial opportunities. Now, I know sometimes it can feel like it's the same thing because you recorded a song and therefore it's like it feels like it's one entity and it's not. Legally they're totally separate things under separate contracts. So a music user cannot license a song or its recording into a project until every single aspect of the song and its recording has permissions and there's total transparency as to the ownership of the rights and the performances. So but it's simply. You know, a lawsuit could be filed by a rights holder against the company that uses a song without its permission right. But that also extends to the performances on the recording. I hope you're still with me.
Speaker 1:There's a lot to this, isn't there? But if there is, for example, a guest violinist on a recording, for example, it's crucial that a performance release has been signed by that musician so that the recording can be used for commercial purposes. You know, the most important things required for clearance are basically just the permissions of all rights holders and performers. So when you've got, you know, let's say, someone that's programmed something or played on something. Anyone that's contributed to any kind of element of a recording will need to sign a performance release, so often referred to, as you know, a work for hire agreement. If you ever hear that term, it means the same thing. It's basically just a short and simple contract which outlines the agreement between the rights holder and a performer on the recording. Don't think that a sync agent will take care of this for you. They won't. They'll expect you to do it. So it's very important that the agreement will kind of just basically state that their contribution does not include any compositional rights. It doesn't include any further fees that might have to be paid further down the line.
Speaker 1:And also, you know that performer, you know they need to clarify that they've been paid or that they're willing to have done this for free, together with their name, their address, their signature. It sounds so formal, doesn't it? But there's been so many times where I've I've kind of seen problems arise with this because you know, such and such has had their friend play on something and they've done it for free, and then that friend further down the line says, hey, I heard my song on netflix. I didn't know you did that. And then they could, you know, have a legal case there. But all of that needs to be kind of wrapped up from the beginning on a kind of watertight level.
Speaker 1:By the way, if you ever need any of those kind of performer release agreements or anything like that, don't go anywhere and pay for them, right? Just go to my website. You can get them for free. Go to johnnyamos amoscom and click on music industry resources. You'll see a bunch of different things on there you can download for free. One of them is a performing release agreement. Um, so you know, there are lots and lots and lots of cases where you know performers don't want to be paid right for the role. Maybe they were helping a friend, uh, to, I don't know bolster their cv or just build experience, and there's nothing wrong with that. But you still need a performance release. It's still going to be required.
Speaker 1:Um, you know, when you kind of start working with a sync agent, so you know it's, even if you don't pay somebody, you could mark it as zero and just ask them to still sign it. It sounds very formal, doesn't it? But, um, you know, when you're working with a licensed agent, one of the key expectations that they will have as you as a rights holder is for you to have sign off on every single aspect of a recording right. So it means that you must, you know, have those agreements in place. So it doesn't take very long to do. It's certainly not an awkward thing to have to ask for, especially at the time of actually making that recording.
Speaker 1:Another thing is producer clearance. Right now, sometimes this can be really really quick and easy and other times it isn't. So you know, as we all know, producers play a pretty significant but often also quite varied role in the recording of songs. But whether the role of a producer is significant or minimal, that role must be acknowledged and cleared through a producer release or a work for hire agreement. So if a producer has been paid for their time, it doesn't necessarily automatically mean that they don't own any of the master rights. I know that that shouldn't be the case, but you know there's plenty of cases where you know there's been a lot of confusion around that as to what was agreed. So in many cases producers will be quite happy to just sign off on not owning a master once they've been paid. But there are also many other cases in which producers insist on percentage splits in addition to their fee. So that can come as a bit of an unwelcome surprise, especially when you're trying to get producers to sign a clearance for months after they worked on something, because all of a sudden they might go well.
Speaker 1:Well, that means you've got somewhere with this. Okay, I'll have 3% now. You can avoid all of that by using a producer release agreement or an engineer release agreement or a studio release agreement. Again, these are all downloadable for free from my website. I'm not trying to sell you anything when I say that I've encountered so many problems with this sort of stuff over the years and I don't want you to do that. So, yeah, you head to johnnyhamoscom musicindustryresources. You'll see all of these on there. That extends to any additional contributor as well, by the way.
Speaker 1:Right, so you know that could be anyone that's been in the recording process or anyone in the compositional process. They need to have their permissions. Right, you need the clearance of every single person. It could be a co-writer who, I don't know, didn't wish to feature on the recording you know, or a musician that recorded a part as a one-off years ago, or even groups of people, maybe that contributed to a recording, such as a choir, an orchestra or whatever. Clearance is generally not required for sort of royalty-free loop samples, third-party instruments, et cetera, because you generally sign up to a license when you buy a plugin. So that's something slightly different.
Speaker 1:Okay, preparing your pitch, guys. We're almost at the point where we're ready to pitch Guys. We're almost at the point where we're ready to pitch a song, right, okay. So to be ready to start pitching songs or instrumentals, it's really important to consider these three initial steps right. Firstly, be ready, and I mean really ready. So you need to be able to be ready for interest, right? So stall or panic, or you know, you might lose the interest of a music user. So they need speed and efficiency. So ensure that you have all of those clearances in place and that your final mix is ready.
Speaker 1:Um, it might well be that they come back to you straight away and go great, yeah, we've got a spot for this. This is perfect. Can we do this? And if you're not ready and you know you might just just think well, you know, they'll give me a couple of weeks. No, they won't. They want you to be ready. They want your song, your files to be ready, and that's the other thing. Your files, right?
Speaker 1:It may well be that your song needs to be edited for, like specific cue points or scenes that have a specific time length constraint, it's always recommended to just have shorter versions of your song and your instrumental prepared, so that could be like a one minute version, a 30 second version or maybe even sometimes a 15 second edit, you know, will be required. Now, it may well be that the company that you're working with, you know, has their own kind of they don't ask that of you, right? Maybe they just they have their own facilities, maybe they're good in pro tools and they can do that kind of stuff without the need for you to do edits. Also, there's many music supervisors out there these days that are using brilliant ai tools, right, that will kind of just sync music up with a scene. However, if you're dealing with people that haven't got those tools or don't use those tools or don't like those tools or whatever, you've got to be ready. So the way that you get ready for those is by having those shorter edits so that you can go hey bang, here's a link to a 30 second version. They'll love you for it, right, and it just increases your chances of that music actually getting used.
Speaker 1:Um, now also research who you actually want to work with. You know what your offer is and what kind of visuals your music will actually aid. This, will you know? This will really really help a lot of people. So you know. To aid your understanding even further, you could research what songs were actually used in. You know specific like television programs and films. In fact, there's a website called tune find right. If you look at tune findcom, it's a great resource for kind of finding out what songs were used in what projects. And if you know your genre and your mood and your similar artists, your next step is to then understand what kind of visuals could be aided by your music. Because it is at that point that it starts to become OK, this isn't just a music creator with a song and a recording and their clearance and everything, all their ducks in a row. They're actually telling us where this can be used. It's at that point that you then start to become really useful to a lot of people.
Speaker 1:Ok, we will stop it there for this week. Part two of this is going to continue. By the way, I'm going to pick up exactly at that point in next week's episode and I'm going to look at how to actually pitch for sync opportunities. So we'll be looking at the differences between kind of broker agencies, supervisors, film directors, music publishers, sync agents. When you're ready, when you feel like, okay, I'm ready, I've got everything I need. I've listened to this episode, everything's good. Next week is perfect for you. That is where I'm going to go into what you do next about it. Okay, until then, everybody, thank you for being here. Enjoy your day, and may the force be with you.
