Music Dealers Artist Tips: Creating Trailer Songs For Film
August 15, 2011, 6:29pm
Trailer supervisor, Nick Martin was nice enough to meet up with one of our Los Angeles team members, Sean Sirkin. In this video he explains what he and his team look for when selecting songs for film trailers. He even shows you some examples from the Music Dealers catalog that work and explains why they work. If you are interested in creating some songs for film trailers - this video will be very helpful for you.
Song used in the beginning and end: Polar Moon "Your Hand In Mine Always In Heart"
Music Dealers Artist Tips: Updated Schedule A Info
July 15, 2011, 1:37pm
Music Dealers Artists,
From time to time, some of you may have received an email from our Publishing Department here at Music Dealers. These "ARTIST INFO INQUIRY" emails are not only important to us, but most importantly, to you, our artists. As opportunities and placements come in from our numerous clients, an accurate and up-to-date Schedule A info section for your songs is crucial. This bit of information not only gives credit when due, but also ensures that both parties, writers and publishers for each song, are accurately paid on behalf of your PRO. With inaccurate info, you may be missing out on hundreds, if not thousands, of dollars in public performance royalties that are owed to you for placements in advertising, TV, international film performances etc. Missing info of any kind and/or discrepancies in the info you give us versus the registered version with the PROs are just a couple of situations that complicate and muddle the process of registering your songs when placements of your works are made.
For every song, there are 5 very important pieces of information we request:
- Songwriters -
ALL individuals with songwriting credit need to be accounted for. A producer is not necessarily a songwriter, unless an agreement with the artist has been made with the producer whom he/she is to receive a portion of the song writing credit. Just because you recorded or engineered the song DOES NOT entitle you to writer credit. Also, DO NOT put your band name, stage name, and/or alias. What we need is YOUR FULL NAME, as it's registered with your respective PRO (if any). If the entire band has writer credit for a song, please enter EACH BAND MEMBER'S FULL NAME. Keep in mind, if more than one writer exists, please create a new writer line instead of trying to cram 4 writers into a single line.
- Publishers -
This section can be tricky the first time through. If you have a publisher(s), enter the name into the appropriate field. Similar to the writer section, if multiple publishers exist, please create a new entry for each one. If you and the other writers of your song DO NOT have a publisher entity registered with a PRO, please put your own name or "Publishing C/O Your Name." This is important for us when registering uses. It ensures that you as the writer, also hold claims to the publishing of the song.
- PRO Affiliation -
To receive future royalties, PLEASE list the specific society that you are affiliated with. If you are a member of ASCAP, select ASCAP from the drop-down menu. If you're with ASCAP but are thinking of switching to BMI, select ASCAP, and then when the switch is made, make the update for your songs to BMI. However, if you do not have an affiliation, mark "No Affiliation", but we strongly encourage you to register yourself immediately. Keep in mind that these organizations PAY OUT ROYALTIES FOR THE PUBLIC PERFORMANCES OF YOUR SONGS ON TV, RADIO, COMMERCIALS, FILMS SHOWN OUTSIDE THE US, among others. If no affiliation exists between you and a society, YOU COULD MISS OUT ON PERFORMANCE ROYALTIES.
- CAE/IPI # -
This unique 9-digit number assigned to you as a writer or publisher by your affiliated PRO allows you and the society to pinpoint which "John Smith" you are in their catalog. As an example, try searching "James Brown" in the ASCAP public search tool. You'll be flooded with hundreds of results for "James Brown". If you were the James Brown who just recently received a placement for a multi-billion-dollar ad campaign and neither Music Dealers nor the PRO knows who to give the money to, there's a chance someone else is going to be paid rather than you (This really happens at PROs).
- Percentages -
If you're the only writer, let us know that you own 100% of the writer credit. But what if there are 3 writers on a song? Is it split equally? Does writer 1 have 80% of the song and the other 2 have 10% each? We won't know unless you tell us the exact splits. This also applies to multiple publishers as well.
There you have it! If these five sections are filled out accordingly, you can expect to not see the "ARTIST INFO INQUIRY" emails from your's truly. In the end, it makes everyone's lives a bit easier. If you have any questions about any of this info, or any other publishing related matters, please feel free to contact us here and we'll get you the right response as quickly as possible
Thanks.
The Pub Team
Music Dealers Artist Tips: Importance Of A Good Start & Finish
October 6, 2010, 3:53pm
Every month Music Dealers will bring you a tip from Sean Smith of Identity217. This week Sean shares some great tips to keep in mind when you are creating some good library tracks.
The arena lights go dim.... The crowd is bursting with anticipation... excitement.... Just can’t wait another minute. Then... the band slowly begins to fade in nice and easy? What?! No massive drum hit, no cannon explosion..... No impact.
I was once told by a video editor, the guy who many times physically places your music to film, that he listens to the end of a track to see if it will work. An interesting, simple, intro and ending will make placing your music in film and tv cues much easier.
Write a great piece of music, then really think about its use in a tv cue or commercial. Creating a cool edit is very different than writing a cool song, but no less important. I urge you to maintain the essence of the song, but really consider its use as well. The 30 second guitar solo intro or big trash can drum ending will have supervisors saying next faster than a Taylor Swift note going flat.
Keep your intro simple and short. Many times a quick snare hit or guitar chord is enough. This grabs the ear and helps the listener to focus before the music hits. Since most music on screen is only used for maybe 10 seconds to a minute, really think about shortening the unnecessary elements.
NEVER FADE. Many editors and supervisors won’t even accept a track with a music fade, they just delete it. So again, give it a quick, simple ending.... bop-bop-bop on the snare, choked crash, cool guitar lick. Maybe cut the end so it doesn’t ring out...stop it cold... even better let the reverb tail and the editor will love you cause he can blend it into the next scene.
By: Sean Smith
Tirelessly Arranging All 12 Notes
sean@identity217.com
Music Dealers Artist Tips: Importance of a PRO
June 2, 2010, 10:29am
It is important that you sign up with a PRO when licensing your music. Although it is not required, it is strongly suggested by Music Dealers. If you have a song with multiple writers, producers, musicians - depending on your deal - you may need to include every single musician for each song. If you are a rapper and have a different producer make the beat for you - you need to include them as well. Please feel free to contact your C.A.R.E. Rep with any questions regarding PRO companies!
Music Dealers Artist Tips: Accurate Payment Information
May 14, 2010, 2:24pm
Here's a little reminder to all of you: make sure your payment info is correct and up-to-date. We all love to get paid and this is the only way we can ensure quick payment every time!



