Trying to describe music is a lot like writing poetry: adjectives, tone, feeling, sensations, are all part and parcel of sync licensing requests. Navigating these requests can be a challenge as the vague requests of, “Give me something ironic,” and “It has to be fresh but bold while not being too dramatic,” are difficult to decipher. While the execution may be meticulous, it is worth the squeeze as you land placements in film, TV and advertising.
There are plenty of items that music supervisors look for in submissions of sync music, not including the perfect match to their intricate requests. Time and effort are obvious needs, as well as legal protection on behalf of the artist. But what are the things music supervisors don’t want in a pitch? I sat down with the Mob’s Creative Licensing lead Elyse to get the scoop.
8 Things Music Supervisors Do NOT want In a Pitch:
#8: Wall to wall lyrics in a song
Sync licensing is about putting music to a scene, most likely with people. The music should support the narrative, not overpower with lyrical content.
#7: Lyrics with specific names/places (especially in the hook)
There is a difference to having a specific theme to a song (love, sadness, getting crazy in the club), and having an exact name or place repeated in the chorus. If there is a specific spot in the song that is useful, point it out i.e.: “between 20-30 seconds”.
#6: Any material that is too “safe”
Networks are looking for fresh, new material. Sending generic, un-original music is ill-advised.
#5: Disorganization
Know whom you are sending your pitch to and their delivery preference of music. If you don’t know, ask ahead of time.
#4: Veering away from exactly what they are asking
Every song included should be on target with the pitch- ask yourself before you send them, “Are these really great songs? Or am I throwing this in because it hits 3/5 of the notes the supervisor sent.” Don’t just send them songs you want them to listen to if they don’t align with the request.
#3: Lack of emotion
These songs are being used to evoke a feeling and tone of a scene. Every piece of music has to have some kind of soulful ingredient to connect the listener to the narrative…it has to be evocative.
#2: Slow turnaround
Everything should be done in a timely fashion. In TV, this is typically same-day or within 24-hours. The sooner they hear it, the sooner they put it in the pile of possibilities.
#1: Poor production quality
Unless the pitch is for a song from the 50’s, modern production techniques are imperative. The songs should have sonic balance and be in tiptop shape (read: broadcast quality).
So there you have it! You are now armed with vital do nots in your quest of navigating the waters of sync licensing.
–Allie Krummel