I’ve been posting a lot of content lately strictly related to licensing, so I thought I’d take a moment to write a blog post about a slightly broader topic that’s been on my mind lately. It’s not directly related to music licensing or the music business, per se, but it’s a mindset that’s applicable to anything you do in life, including, of course, making music and pursuing a career in music, if that’s your thing.
This is a concept that author and entrepreneur Seth Godin introduced me to, and it’s the idea that in business, and life in general, we have a tendency to take things personally when things don’t go our way. If our music or business venture fails, we feel like it’s somehow a reflection of our value. If the market rejects our ideas or music, we feel like they’re rejecting us, as people. We have a tendency to take our success or failure very personally.
Godin likens the process of starting a business or launching a new venture as being a bit like playing Monopoly. Only, instead of just playing with several people, it’s a game that we’re playing with several billion people. Every move anyone makes affects everyone else’s position on the board. But, like in the game of Monopoly, if you don’t land on Park Place, or you’re not the first one to buy up all the utilities, you shouldn’t really take it personally. After all, it’s just a game.
Of course, it’s easy to look at life and business this way when you’re sitting comfortably atop your multi-million dollar empire, as someone like Godin is. But, what about when you’re starting out, or when you’re still struggling to “make it” in your chosen profession?
Like the game of Monopoly, the game of life is a game you get to keep playing. If you lose at Monopoly today, you probably aren’t going to take it personally, throw the game away and refuse to every play again. Unless you’re like 4 years old. Maybe you got a few bad rolls of the dice and perhaps you made a few strategical errors. But, you still can play the game again tomorrow and you could still win again tomorrow.
The game of life is a lot like Monopoly. Just because you didn’t make the moves you wanted to make and haven’t arrived where you hoped you’d arrive, doesn’t mean the game is over. You get to play again, every single day you’re alive. Your past doesn’t define you and you can always make different moves today.
It’s not a perfect metaphor. After all, this is real life and our success or failure has real, tangible consequences. But, in a way, it’s a pretty accurate way of looking at the situation. Just look at the winners and losers in the music industry. It’s pretty clear that those who have “made it” commercially are not somehow inherently better people than those who haven’t. They might be better players, but even that isn’t necessarily true.
I think we can all agree that the Justin Biebers and Katy Perry’s of the world are just people who happen to have the right combination of looks, talent, hard work and timing. It’s a game and they got a lucky roll of the dice. That’s it. It doesn’t mean they’re better than you, or more talented than you, or even smarter than you. They just rolled the dice and landed on Park Place before you did.
Of course, like in all games, some people are more driven to win than others. Some players practice more and study the game better than others. Some players spend more time playing and get better than their opponents. Some players come to the realization that the game isn’t even worth playing and find a new game to play.
But the most important realization, regardless of whether you win or lose, continue to play or quit playing, is that, in the end, it’s just a game.
I just finished spending two weeks in the LA area for the licensing/production retreats I co-hosted with my producer, Gary Gray. It was an amazing two weeks. It was so great to meet so many people that I’ve worked with online and on Skype, in person.
In addition to meeting all the musicians who attended the retreats, I finally got to meet one of my “star students”, Eddie Grey. Eddie has taken several of my courses and has gone on to parlay the information I teach, as well as what Gary Gray teaches about music production, into a thriving career as a TV composer. I had a chance to go to Eddie’s home studio in Sherman Oaks and see what he does in action. It was really cool to see him working behind the scenes. He’s a super hard working guy who is crushing it right now with licensing and syncs. I’ll be bringing him back on my podcast soon to share what he’s up to.
In addition to the retreats I hosted, I also managed to record three new tracks with Gary, meet up with five different people in the industry who I previously connected with via my podcast and had a chance to meet several new music supervisors and publishers. It was a jam-packed two weeks of working, recording and networking.
I left LA with a renewed sense of focus both about the business aspects of what I do related to running my website, as well as a new sense of purpose and direction related to the music I make and license. I probably learned more about the music licensing business and music business in the last two weeks than I have in the previous two years. It was really that great of a trip.
As excited as I am about my trip and as excited as I am about the future, there were some slightly discouraging conclusions I came to about the music business as well during this trip. Some of these conclusions aren’t necessarily new, but were simply reaffirmed based on different things I was told and heard during my recent trip.
One of the great things about connecting with people in person is they tend to open up and give you a more unfiltered take on things. Although I was super inspired from most of the people I met and connected with, there were some people I met in the industry that were more than happy to share some of the darker sides of the music business with myself and Gary.
Most industries have a dark side and a certain element of corruption and politics if you dig deep enough, but the music industry, due I suppose to the nature and economics of the industry, has a particularly high degree of corruption, shady people and pitfalls to watch out for.
I won’t name names, but I spoke with a well connected and respected publisher who told Gary and I numerous horror stories about behind the scenes deals between supervisors, elements of payola in the licensing industry, stories of artists buying spotify streams and youtube views to artificially boost their popularity and on and on.
Of course, none of this is really that surprising to me, but it can be a bit depressing to hear about if it catches you off guard. Here we are, in this already incredibly difficult and competitive industry and then come to find out, it’s not even a fair or level playing field. WTF?! We pour our hearts, emotions and money into our music and yet there are people out there willing to take advantage of us if we’re not careful. Life can be so cruel.
But, then again, is it really surprising? I wasn’t born yesterday. I’ve been around the block a few times. I get that life isn’t always fair and that not everyone has our best interests in mind. This isn’t really news to me and I doubt it’s news to you either.
So, what do we do about it?
Well, here I go about to get all philosophical again….
There is a yin and yang to life. There is a bright side and a dark side. But, we get to choose where we shine our light and what we focus on. We get to choose where we direct our energy. We get to choose what direction we go in. We get to choose which doors we open and which doors we close. Don’t like what’s behind door #1? Turn around, close it and open another door.
It’s incredibly easy to be cynical about the music business right now. There are plenty of things to get down about. It’s incredibly competitive, it’s not fair, there are shady people, there are elements of corruption and on and on and on. If this is all you focused on, it would be very easy to quit making music out of frustration.
Sometimes I ask myself, why I am even working in the music business. That, by the way, is a really good question to ask yourself. When I see so many obstacles in front of me, I sometimes have to step back and remind myself why I’m doing this in the first place.
For me, the reason I make music is really, really simple. I. Love. Music. That’s it. That’s why I do this. I love it and I prefer to do things I love, as opposed to things I don’t love. It’s a simple life philosophy that makes decision making extraordinarily simple.
Of course, I don’t love everything about the music business and there are plenty of things about the music business not to love. But, back to the yin and yang idea, there are plenty of things I do love about the business. That’s where I choose to focus.
There were some depressing behind the scenes stories about the music business I heard over the past couple weeks. But there were even more inspiring and encouraging things I heard and experienced. I met and connected with so many writers, publishers and producers all excited about the industry. I connected with people more than willing and eager to share what they know and who wanted to help in any way they could.
For example, I emailed six recent guests on my podcast based in LA, before I came out, asking if we could meet up. Five of the six said yes. There was a schedule conflict with the other person.
I met great, talented people working in the industry willing to share their contacts and expertise and help in anyway they could. For example, I spent almost two hours with songwriter Jimmy Dunne (Whitney Houston, Kenny Rogers, Take 6) at his beach club cabana in Pacific Palasiedes. Throughout the conversation I could feel Jimmy trying to find ways he could help me. It was as if he was searching for information he could impart that would help me. I walked away with several great ideas based on the conversation we had and what he shared.
I stayed for free for two weeks at my producer Gary’s house. Gary drove me around LA from meeting to meeting and place to place. He never even asked for gas money!
I made friendships and connections I hope will last for years to come. I met an amazing singer and vocalist named Elza who gave me one of the best vocal lessons I’ve ever had, for free!
I could go on and on with stories like this.
The conclusion I came to and the point I’m trying to make is this: There are plenty of things about the music business to get down about if you want, but there are an equal amount (if not more) of great things about the music business and the people working in the music business to get excited and inspired about. Both are true, the good and bad things, but you get to decide which you focus on and where you shine your light.
I’m not sure about you, but I choose to shine my light on the bright side.
This past weekend my producer Gary and I finished the first of two weekend long retreats we’re hosting here in Tustin, CA. It was a long, but extremely rewarding weekend. We had a small group of just six people for this first one, but the small size of the group allowed us to spend a lot of one on one time with all of the participants and really dig in deep with everyone who attended the retreat.
During part of the retreat, the participants who attended collaborated on an original track they wrote on the spot and we ended up recording the song at the end of the first day of the retreat in Master Recording Studios, a multi-million dollar recording studio here in Tustin. We’re actually going to be shopping the track to a few different supervisors in the coming weeks and if we end up licensing it, everyone will get a cut!
My favorite part of the retreat though, was listening to music supervisor and current creative director for Songtrdr, Erin Dillion, do a real time music screening session, during which she screened three tracks from each of the participants. Erin informed us that for her job at Songtrdr she listens to, on average, 2,000 tracks a day! We were all a bit shocked by this number. I have heard of supervisors being sent up to 1,000 submissions a day, but wow, 2,000 tracks is intense!
Of course, Erin said, she doesn’t have to actually listen to all 2,000 tracks in their entirety, so she has become super efficient in determining very quickly whether or not she wants to keep listening to a track. She said the song has to grab her within the first 5 or 10 seconds, or she’s on to the next one. I know that might seem harsh, but that’s the reality of the industry. There’s a ton of music out there, it’s not all ready to be licensed, and so supervisors and executives like Erin have to cut to the chase very quickly simply due to time constraints.
During the listening sessions, it was great to see Erin’s reaction to everyone’s music. She really loved a few of the tracks, a few she was pretty neutral about, and a few others she was more critical of. One of the points she stressed is that she doesn’t really even know production lingo or how to articulate when things are off, production wise. She’s not a producer and if even if she was she wouldn’t have time to articulate to everyone why she doesn’t like their tracks or why she thinks they’re not right for licensing.
Erin’s job is more intuitive. She has a sort of sixth sense about music and what songs will work right for different projects. Her job is to find great music for the projects she’s working on, not to instruct people about how to write and record those songs. Not that she didn’t have great tips for everyone about what works and what doesn’t, but she made it clear that on a day to day basis she simply doesn’t have the time to get into why songs don’t’ work.
Here's an example of a song that Erin heard during the retreated and loved immediately and thought would work great for licensing. This one is called “Who Can Mend A Broken Heart” by Travis Nilan.
Here’s another one that visibly moved Erin, that she also loved and thought would work in the context of licensing. This one is an instrumental guitar track from Paul Armendariz called “Sparkle Hour”. Erin had an immediate, positive reaction to this one!
One of my biggest takeaways from the weekend is that in order to succeed in licensing you need to do your own research. You need to attend industry events, meet people, study the market and of course write great songs. When you’re on the outside looking in, it can be frustrating if you’re not getting the success you’re seeking. But when you learn how the business works, by listening to and meeting the people working within the music business, it all starts to make sense. When you realize the sheer amount of music industry insiders are listening to and screening on a daily basis, all the rejection and frustration musicians go through is seen in the proper context. A healthy dose of perspective goes a long way.
During the retreat, Erin shared with us a great tip about how to break through the noise and reach people like her in the business. This particular tidbit of information was a huge aha moment for me. What is it? Well, I can’t tell you…. exactly. That wouldn’t really be fair to the people who paid good money to come to our retreat and took the time and effort to be there. But what I can tell you, and this is really the gist of her message, is that you need to think outside the box. The majority of writers trying to break into the business are all doing more or less the same thing; sending more or less the same un-inspired emails, writing the same homogenized songs and trying to market them more or less the same way.
Erin said at the end of the retreat that now that we know her and have made a personal connection with her that now we can email her directly and she’ll check out our music. The more face to face networking you do, the more you’ll develop connections with peole that will be open and willing to listen to music you send them. More importantly, they’ll also tend to be willing to give you valuable feedback, that you most likely wouldn’t get if there wasn’t a personal connection.
My trips to LA and experience hosting this retreat this past weekend have reaffirmed what I’ve known all along, which is that networking and making personal connections is vital in this industry. There are a ton of musicians vying for a finite amount of licensing opportunities. But, there is a much smaller pool of musicians who are going above and beyond and putting in the real work, in terms of networking, cultivating relationships and so forth.
There are two ways to approach this business: you can be half in, or all in. Which approach best describes you?
The last few days have been a blur of answering emails, screening and pitching music to various projects, editing podcasts, making youtube videos and getting ready for the two upcoming retreats I’m co-hosting next month in California. This morning I was starting to feel a little burned out from all the work I’m doing so I decided to take a break and have a little impromptu songwriting session.
I write music on a regular basis, but from time to time I just stop whatever I’m doing and have a mid-morning or mid-day songwriting session. I have the luxury of doing that since I work for myself and without fail it leaves me feeling rejuvenated and recharged, ready to face the rest of the day with more clarity and purpose.
I like to think of songwriting as going to a place, that I can go to almost anytime I want, that’s removed from the world of capitalism, paying bills, work and all the stress that goes along with day to day life in 2017. For me, it feels a bit like accessing a meditative space where, when things are going well, I get totally absorbed in what I’m doing to the point that I completely forget about any “problems” or issues I’m dealing with, for a while at least. Sometimes it only lasts a few minutes. Other times it lasts a few hours. But the deeper I go, the better songs I’m able to extract, harness and channel.
One of the more refreshing take-aways I’ve gotten this year from hosting my podcast is the idea that at a certain point, you need to forget about all the rules and ideas you have for what you think makes a marketable song, and just write music from the heart. This has been the consensus of the vast majority of songwriters, publishers and supervisors I’ve interviewed. This isn’t to say that you can’t try to write something you think might be more marketable and have some success with it. If you throw enough crap against the wall, I’m sure a certain percentage of it will stick.
One of the things that concerns me about the current state of the music business, is that since it’s become harder to monetize music, musicians more than ever, seemed to be more concerned with figuring out how to make money from their music. I get it. We all have bills to pay and need to figure out how to get compensated for the work we do. My goal with my website, podcast and so on, is to help you figure out how to do that.
But… I think it’s important that, as artists, we strive to keep focused on the deeper reason we make art and music in the first place. There are easier ways to survive than making music. If the only way we can make money from music is to reduce it to a sort of commodity and product that we have to force into a narrowly defined, pre-conceived set of parameters that’s been defined by some executive at a corporation or a “suit” at a TV network, I fail to see how that’s much different than any other job in “corporate” America.
However, I don’t think it has to be this way. The light at the end of the tunnel, is that I think great songs still have a place and there’s a still a demand for inspiring and moving music. Even if it’s in the context of an ad campaign or a corporate backed TV show. I truly believe there’s a point where great music and corporate interests intersect. Your job as a songwriter and composer, is to write great music that you actually believe in, and then look for places where your music is needed.
If you reverse this, and simply try to write music you think will make money, then I fail to see how this is different than any other “job”. In fact, I think in many ways it’s actually worse, in the sense that you’re taking something that you’re presumably passionate about and forcing it into something you think the market will have a demand for, a much more difficult task than simply getting a "day job".
Something I heard the other day, and I’m drawing a blank on where I heard it, is that great art doesn’t follow culture, great art creates culture. Do you think Dylan or The Beatles would have worried about whether their songs worked in the context of a car commercial or a soap commercial? Do you think Hendrix gave a shit about whether his guitar solos were “in fashion”? Well, I can’t speak for these artists, but I’m pretty confident that in all cases there was something more “pure” happening than simply trying to make a few bucks from their little “ditties”.
Now, I get it. We live in different times. For better and worse. The music business has changed dramatically since the days of The Beatles, Hendrix, etc. Despite the tone of this article, I’m actually quite optimistic about the future of the music business. I think things are getting better and I think they will continue to improve. However, in the meantime, the challenge we face as artists is to stay true to our muse and not lose sight of what making music is really all about. Which, in my opinion, is about a lot more than simply trying to help advertisers sell cars or help tv shows sell advertising space.
When I’m deep in one of my songwriting sessions, the last thing I’m thinking about is trying to make money or figure out what tv show my music might fit into. I’m just writing music that I feel inspired to write and I’m writing about things I’m inspired to write about. Then, after I’ve written a song, then and only then, do I worry or think about where to try and sell it or license it.
To be honest, I’ve licensed music of mine that I think sucks and I’ve licensed music that I love and I’m super passionate about. I’m a lot more proud of the latter.
Originally I had planned on calling this blog post, "reconciling the conflict of art and commerce". But the more I dug into the topic and really thought about balancing these two, seemingly contradictory ends of the spectrum (art - commerce) of being a professional musician, the more I realized there was something more profound and meaningful, albeit slightly more subtle, to discuss.
I realized, upon closer investigation, that these two different aspects of being a musician aren't so much diametrically opposed as they are intricately connected. They're connected in the same way that night is connected to day, good to evil, up to down and so on. I like to think of art and commerce as being the yin and yang of the music business. For better or worse, they depend on each other. Without an audience, music doesn't have nearly as much impact and without getting paid, musicians have a hard time eating. Hence, the existence of the music business.
In The Beginning...
Let's start with what I'm assuming is the primary reason the vast majority of us were drawn to being a musician in the first place: making music. Whether your passion is performing live or sitting in your bedroom and getting into that blissed out zone where great songs emanate from, I think it's safe to say that the vast majority of professional musicians are drawn to the music business out of a deep love and passion for making music. Makes sense right? If you love doing something, a logical extension of that is to try and make a life out of it. It's not necessarily the easiest life plan to execute, but it's a hell of a lot more inspiring and motivating than trying to make a life out of something you have no interest in doing.
Most musicians probably start with pretty pure intentions and a sincere desire to create something unique and beautiful to contribute to the world. Sure, there's most likely a healthy dose of some level of desiring to acquire fame and fortune in the mix for a lot of musicians. But the vast majority of musicians I meet and interact with seem to have a true passion and love for making music. I think we all desire success on a certain level, but most musicians don't stay in the game very long if they don't truly love music and making music first and foremost.
However, as anyone who has been a musician for more than a minute can attest to, the music business, isn't always a bed of roses. Making a business out of music is a much, much different experience than just playing music for fun in your spare time. Turning your love of making music into a viable career path is a journey that can be so challenging and so treacherous that it can potentially undermine and destroy your love and passion for making music. I've seen musicians go from having an absolute, unabashed love and joy for making music to simply not wanting anything to do with it, in the span of just a few short years, as a result of the music industry's cutthroat and heartless nature.
And even if you are one of the few who do succeed at "making it" in the music business, well that's no guarantee that your life is going to be a happy, care free and joyous life anyway. One needs to look no further than the recent suicides of Chester Bennington and Chris Cornell, or the long line of musicians throughout history who have died tragically young due to substance abuse and mental health issues (Amy Winehouse, Janis Joplin, Elvis, Prince, Michael Jackson, Hendrix, etc) to see that it's pretty clear that "making it" in the music business doesn't automatically equate to a happy or "successful" life. Obviously correlation is not causation, and there are, I'm sure, many happy and well adjusted musicians, successful and otherwise. But from the outside looking in, it doesn't really seem like success in the music business, in and of itself, is a very dependable way to attain happiness.
The more I think about and break down the distinction between the art and commerce aspects of the music business, the more I realize that the music business is simply a microcosm of life. At the risk of getting a little too philosophical, life is both tragic and beautiful, simple and profound, sad and happy, up and down and [insert your own cliche pair of opposites here], regardless of what profession you choose. No life path is a guarantee for happiness. I've met absolutely miserable people who are obnoxiously wealthy and ultra successful by societal standards, and I've met entirely happy and content people living in third world countries who make less than ten dollars a day, and vice versa.
The music business just seems to magnify aspects of humanity that are prevalent in all our lives. At its worst, the music business is comprised of greedy, egotistical, maniacal and power hungry executives (and in some cases musicians) who will stop at nothing to increase their bottom line and further their power and dominance without regard to things like artistic merit, integrity and talent.
Conversely, there are tons of musicians out there who want nothing more than to simply make beautiful music, share it with the world, and hopefully earn enough to lead a comfortable, sustainable life at the same time. The music business isn't one or the other, it's both. Just like life, it's not really possible to reduce it to some sort of easily quantifiable box or category or thing.
Achieving Balance - The Zen Of Being A Musician
On an individual level, as musicians, the "zen" part of being a musician is about maintaining balance and having a healthy perspective. You need to have thick skin to deal with the inevitable ups and downs that come with the path of being a musician. The music business is hard for a variety of reasons, many of which I've addressed on this blog and in my newsletter ad nauseam over the years. Without going into the obvious reasons why the music business is so challenging, let's just say it isn't for the faint of heart.
What's allowed me to forge ahead after all these years and still deeply enjoy music and to a certain extent, the music business, is the realization that "making it", at least as traditionally defined, isn't really the goal to begin with. What you talking about Aaron?! You're sounding crazy! How could that not be "the" goal??
Think about it, it's pretty clear that making it in the music business doesn't automatically lead to a happier and more fulfilling life (see above). I mean, I'm sure there are plenty of examples where it has, but there are clearly an abundance of examples where it hasn't. So, I'm not overly concerned with stressing myself out about reaching some sort of arbitrary goal of "making it" in the music business that would seem to, at best, give me about a 50/50 chance of happiness and fulfillment, and could actually reduce my life expectancy by as much as 25 years.
But, then again, sitting around and wasting your days away doing nothing or doing things you don't care about isn't exactly a great recipe for a fulfilling life either. At least not for me. For me, the sweet spot is in the middle, where you're actively engaged in life and pursuing things that are important and meaningful to you (like music), but you're not so attached to the outcome that you hinge your happiness on achieving or not achieving certain goals. Even goals related to your music career.
It's sort of like when you want to be with someone, romantically, so much that you scare them away. If you cling to hard, you risk squeezing the life, and fun, out of the relationship. It's the same with music. If you take it too seriously, it's all too easy to turn your music career into something that's just another, run of the mill, stress provoking attempt to make money.
I think Gandhi summed up this idea well, when he said “Whatever you do will be insignificant, but it is very important that you do it.” When I think about this quote as it relates to being a musician, it really helps put things in perspective. It means, to me at least, that in the grand scheme of things it probably doesn't matter whether you or I or anyone else make it in the music business, but it's important that we try. It's important that we're engaged with and enjoying our lives and contributing to humanity to the best of our ability. But don't take any particular goal or endeavor so seriously that you squeeze the life and joy out of it.
I know, I know, it's a bit of a paradox. "You should pursue your goals but not care if you achieve them? Is that what you're telling me Aaron?" Well, not exactly. A better way of saying it is you should pursue your goals as passionately and joyfully as possible but don't let your emotional well being depend on any particular outcome. I know, it's deep, but I didn't call this post "Zen And The Art Of Being A Musician" for nothing!
Think of it this way...
True freedom is pursuing and doing that which we love, but being comfortable enough to let the chips fall where they may, because ultimately they're going to anyway, whether you like it or not.
I’ve been getting a lot of questions about my plans for my first ever digital music compilation that I’ll be releasing this fall. Since most of the questions have been more or less the same, I thought the easiest thing to do would be to address them all in a blog post.
Why are you doing this compilation? What’s the point?
Well, the simplest answer is that I want to help promote some of the amazing music that is out there that isn’t being heard. As a part of my “job”, I have the great fortune of listening to a lot of indie music, and there is an enormous amount of really great music out there that isn’t really being heard. I want to do my part to help promote some of the great artists out there that deserve recognition but aren’t really getting it.
What styles of music are you looking for?
I envision this first release as being fairly eclectic, with a wide range of styles. I’m really open to anything as long as it’s great and well done. With that said, I’m leaning towards songs with a modern and fresh sound with vocals. However, if the right instrumental track or track comes my way, I’m open to including that as well. The main thing I’m looking for is great music, regardless of the genre.
Is there a deadline for submitting?
There’s not a specific deadline per se. I’m going to keep accepting submissions until I find a collection of tracks that I feel strongly about. With that said, my plan is to release the compilation in the Fall, so I’m hoping to wrap things up in a month or so.
Are you doing this to make money?
I hope this project makes money, but I’m not doing it primarily with that motivation. I’m well aware of the challenges of monetizing recorded music, so I’m going into this with eyes wide open. With that said, I want to be as transparent as possible at the outset of this project and let everyone know that any money that is potentially made will be split equally with everyone who contributes to the project. If there ends up being ten people involved (including me), the money will be split ten ways. It’s as simple as that.
I have some really unique ideas in terms of how to promote the project that I’ll be sharing with everyone a little further down the road. For now, just realize, this project is free to participate in and everyone involved will get an equal share of any money made.
Will I keep the rights to my music?
Yes, 100 percent. By participating in this release you won’t be giving up any of your rights to your music. You’ll still own your tracks and can continue to license them, sell them and give them away elsewhere as you see fit. This won’t be like a traditional record deal/record label where you give up the master/publishing to your music. Our deal will be completely non-exclusive and you can work with other people and companies concurrently if you choose to do so.
Where will the release be distributed?
Spotify, Itunes, Amazon, Youtube, etc. Wherever digital music is bought and sold.
When is the release date?
I don’t have an exact date. It depends on how long the process of screening, selecting and compiling music takes. I plan to release it, tentatively, sometime in early Fall 2017.
When will you notify the artists you’re interested in working with?
I’m going to start contacting artists that I’m interested in later this week. My plan is to Skype with everyone I'm interested in initially to go over details of the project and to make sure we're on the same page about my vision for the release. If we are, then I’ll send a short contract that outlines the details of our arrangement (see above).
What about your licensing courses? Will you still offer those?
I’ve been running How To License Your Music.com for nine years now and have put together an extensive collection of courses and products related to the music licensing niche. I’ll be continuing to offer my courses on my website and will continue to offer training programs with coaching, like the 90 and 180 Day Music Licensing Challenge, as my schedule permits.
If you’d like to submit your music for consideration, you can do that here.
Let me know if you have any more questions or comments, in the comments!
This summer I’m going to be launching a brand new project, unlike anything I've ever done before.
I’m looking for great songs that I’m going to release as a part of a compilation that will be distributed far and wide on platforms like Itunes, Spotify, Youtube, My podcast and much, much more.
If your music is selected, being included on this release will cost you nothing.
In fact, there’s a really good chance that this release will make money. That’s the goal. If that happens, and I'm confident it will, I’ll share it with everyone who’s involved equally.
I can’t share the exact details of the release yet, but if your music is accepted as a part of the release, I’ll give you all the details as well as a short and sweet, 100% non -exclusive contract.
What I can say, is that this is going to be a very innovative release and a unique project unlike anything you’ve ever heard of. If all goes as planned, we’ll all be getting major press and attention for this project. Seriously.
Apply below and if I think you’re a good fit, I’ll give you all the details. Please fill out as many of the fields below as possible, as they will all factor into your being accepted or not.
It’s good to have goals. As musicians, having goals gives us something to aim for in our lives and careers. The right goal can motivate us to grow and push us towards new heights as musicians that we would most likely fail to reach if we had no goals at all. Having goals give us a direction to orient ourselves towards. It gives us something to do and strive for every day when we get up.
Without goals, it’s all too easy to wander aimlessly, with no real direction or purpose at all as it relates to our music and life in general. One day maybe we dabble in jazz, the next day we try to write a fugue, the next day we go to the beach because we’re not feeling it and so on. Of course, having a freedom and playfulness to our lives can be liberating at times, but without any goals at all, we zig and zag a lot, often times not really getting anywhere.
The problem with goals though, is when we’re so attached to a specific outcome, that we neglect the process and journey of getting there. Or, we get discouraged when we don’t hit the milestones we set for ourselves and stop trying or even give up. This could because we’re not setting the right goals, or we’re simply not motivated enough to do what it takes to make our goals a reality.
Having really big goals gives us something to dream about and work towards. I think they’re mainly positive. Goals become a negative when we set such big goals for ourselves that we become discouraged and depressed if we don’t reach them. Or even worse, maybe we do reach them, but they fail to satisfy us the way we imagined they would. Or we find we’re not quite ready psychologically to deal with the sort of attention and pressure that success brings. (I’ve known people personally who have experienced both of these scenarios).
I made a video recently where I talk about setting goals as musicians, and how to set goals that serve to motivate and inspire us, and how to avoid setting goals that cause us to end up feeling more discouraged and disillusioned than we did before our goals.
Check it out here:
In my latest podcast, I speak with filmmaker and musician, Chip Miller. Miller has produced 195 MTV/VH-1/BET & CMT music videos, national commercials, award-winning documentaries, a Disney TV weekly kids series, PBS TV Pledge Specials, an HBO concert, and several indie feature films. Previous to DCAM/Winmill, Miller was an Art Director, a film Producer, Editor, Music Supervisor, Screenwriter, and Director, on dozens of movies, many television programs and made for tv movies.
In this podcast, Chip and I discuss:
-Chip's latest recording project, Old Sand Mill, featuring Brian Wilson, Paul Simon, The Punch Bros and more.
-How The Music Business Has Changed Over The Last Several Decades
-Chip's career making music videos for artists like The Cars, The Rolling Stones, Linkin Park and more.
-Balancing art and commerce as a modern day musician.
-How to get your music in films and what supervisors look for.
-And much more
Check out the podcast below:
I’ve been hosting my podcast, Music, Money And Life for over three years now. My podcast started as an irregular way of connecting with people in the music business and sharing what I learn with my readers, in an effort to expand the content I create. The first couple years of doing my podcast I had no regular schedule. I would sometimes do a couple podcasts a month. Sometimes I would get busy and skip a month or two. To be honest, it wasn’t something I took very seriously in the beginning. I looked at it as a fun way to promote my business and connect with people in the industry at the same time, but my approach to doing it was inconsistent.
Last year I had the realization that I should put more work into my podcast and step things up. The main reason I came to this conclusion is that I really enjoy doing it. It’s a lot of fun. It’s sort of like having my own little radio show. I’ve always wanted to have my own radio show. Actually, truth be told, I’ve never wanted to have my own radio show, but it’s pretty cool when I think about it! The fact that we live in a time where we all have the ability to connect with other people and share that information around the world for free is truly incredible.
In addition to simply enjoying my podcast, it’s an amazing and pretty painless way of connecting with people in the music industry. I get to connect and have an in depth conversation with at least one person working in the music business every week! How cool is that? Before my podcast I could barely get people in the music business on the phone, now I get to talk to them for up to an hour and pick their brains, asking them whatever questions I want.
The other day I talked to film maker and musician Chip Miller, who has toured and worked with Paul Simon, Brian Wilson and many more, in addition to having made over 190 music videos for bands like The Cars, Linkin Park and many more. Last week I interviewed one of the top music supervisors in Canada that syncs music to many of the most high profile ad campaigns in Canada. Yesterday I interviewed Portia Sabin, the owner of the label Kill Rock Stars (The Decemberists, Deerhoof, Elliot Smith). I’m getting a world class education in the music industry and I don’t even have to pay for it. All I do is ask people, politely, to come on my podcast, and a large percentage of the time they say yes.
Doing my podcast has been a real lesson in the importance of simply taking action and making things happen. In my experience, there are tons of people in the music business more than willing to contribute and help out by way of giving advice, answering questions and so on, if you simply take the initiative and ask them.
I came across a video recently of Steve Jobs where he discussed how one of the common traits that separates those who do, from those who just dream about doing, is simply taking action. He tells a great story about how when he was 12 he called up Bill Hewlett (Hewlett-Packard) and was offered a job simply for having the courage to just call him up and making the effort to get his help.
Watch the video:
The Power Of Reciprocity
Another takeaway from podcasting has been that more often than not people are willing to help you if you ask them and IF, and this is a big if, you have something to bring to the table. I think the main reason so many people are willing to come on my podcast and share their expertise is that they also get something in return; more exposure for their brands, a platform to share their knowledge and look smart, and so on. It’s really just human nature. People feel obliged to reciprocate those that help them.
In Robert Cialdini’s classic book, Influence: They Psychology Of Persuasion, Cialdini lists reciprocity as the first rule of persuasion. The idea of reciprocity says that people by nature feel obliged to provide either help or concessions to others if they’ve received favors from those others.
Think about how this applies to something like the music business or trying to get your music licensed. Most supervisors, publishers and so on are inundated with emails and phone calls from musicians that want something from them. Whether it’s a musician looking to land the next big placement, get a record deal, or somehow move his career forward, most musicians are looking to get something out of the people they’re contacting and reaching out to.
Think about this, and be really honest with yourself, when you reach out to people with your music, are you really concerned about them and their needs? Or do you just want someone, anyone, to help you make money with your music? Do you put the needs of those you’re contacting first? Or do you really just want someone to give you a break and help you out already?
You might be thinking, yeah, but I’m offering my music to people I’m contacting, so isn’t that an equal exchange? Well, it could be, but it really depends on your music and how you approach people in the business. Have you done the research to know whether or not the person you’re contacting needs the kind of music you make? Are you sure what you’re bringing to the table has real value? Are you sure the music you’re submitting is the kind of music the person you’re sending your music to wants or needs? Are you really trying to make a genuine connection that is mutually beneficial? Or are you just blindly throwing your music out there to see what will stick?
Try to make a real connection to those you’re trying to connect with. The thing that I love the most about doing my podcast is I’m able to make a genuine connection with my guests that go beyond just exchanging a few anonymous emails. I don’t keep in touch with everyone that I’ve had on my podcast, but I do with many and I’ve forged several meaningful and lasting connections as a direct result of getting to know them on my podcast first.
Doing a podcast isn’t for everybody and I don’t expect you to all go and start your own podcasts, websites and blogs, although you could if you feel drawn to doing that. But regardless of how you go about it, try to make real connections with people that are beyond just business and wanting to get something from someone. Try to get to know the person behind the job description that you’re reaching out to.
Portia Sabin, the owner of the record label Kill Rock Stars, was a recent guest on my podcast and one of the things she stressed is that she needs to feel a connection to the artists she works with, in addition to loving their music. She said that signing artists is based on a combination of loving and believing in their music and resonating with artists as people. It’s not a surprise, but she wants to work with people she connects with.
As we all know, the music business is all about connections. But it’s not just about who you know and who knows you. It’s about who you resonate with and who resonates with you. It’s about people.
In my latest podcast, I speak with the Toronto based music supervisor, David Hayman.
David is the founder of a music supervision agency called Supergroup.
David and Supergroup have placed music with the following brands/projects:
-And many more...
In our podcast, David and I discuss:
-How supervisors like David find music
-The types of artists and bands that supervisors prefer to work with
-How much you get paid for a variety of projects
-Why indie artists get more supervisor love than "big" artists
-How to get your music to supervisors like David
Check out this week's podcast with David here:
In my latest podcast, I speak with Mexico City based composer Milo Coello about his career writing music for tv and films. Milo is a Berklee graduate who spent several years in LA making connections in the industry, before eventually returning to his home city of Mexico City where he currently resides and writes music for tv and films full time.
Milo's music has been heard on NBC, Discovery, Food Channel, Discovery, Bravo, National Geographic, CBS, ABC, Fox, VH1, Lifetime, A&E, BBC, TBS, UFC, Universal and much more.
In this podcast, Milo and I discuss:
-How to break into the world of writing songs for tv/films
-The Pros and cons of being based in LA as a musician
-How to thrive in less competitive markets
-Playing Live VS working as a composer
-How competition can inspire us to work harder and achieve our goals
-and much more.
Listen to the podcast here:
In episode #65 of Music, Money & Life, I speak with London based composer, Claire Batchelor, about her career as a composer in the UK. Claire writes custom music for film and television and has been sustaining herself as a full time musician since 2009.
In my podcast with Claire, we discuss
One of my favorite things about being involved in music licensing, is that it gives me a very clear objective in terms of my music and songwriting.
In a general sense, I strive to just write the best songs I'm capable of writing, but having something like licensing as a goal, motivates me to push myself to write better and better songs, or at least to try.
I find that when I have clear, very definable goals, that's when I do my best work.
Like when I have a live show coming up; I practice more and I rehearse and I do everything I can to be as prepared as possible when my gig comes.
It's the same with licensing. Knowing that I have people in the industry that will listen to new songs whenever I finish them and will pitch them to and potentially place them in tv shows, films and ads, motivates me to write the best music I'm capable of writing. It gives me something very concrete to shoot for.
The truth is, there are only so many ways to monetize original music these days. You can play live, you can license music, you can sell your music (to the extent that still works) and you can write music for other artists. That's about it.
It should come as no surprise, that during periods in my life when I wasn't actively pursuing any particular goal related to music, that I didn't accomplish as much. I still wrote music during these periods, but I wasn't as prolific and I wasn't really pushing myself to grow in the same way that I am now. I didn't have a clear goal to latch on to, and so I wandered.
When you have goals and objectives related to your music, it makes your days much easier to navigate. When you know where you want to go, it's much easier to figure out what direction you need to move in.
Speaking of goals and music, here's my latest track, called "You And I".
I'm certain I would have never written this song if I didn't have the momentum with licensing and creating tracks with my producer, Gary Gray, that I have right now.
There are a lot of mediocre guitar players out there passing themselves off as “tasteful” and “restrained” by playing second rate, mediocre guitar solos with very few notes and very little flair. You could say there is an epidemic of mediocre musicians out there, making mediocre music.
When I was growing up it was considered “cool” to actually be able to play your instrument. Guitarists and guitar solos were in fashion and guitarists weren’t afraid to actually demonstrate that they could play their instrument well. We practiced a lot and we weren’t afraid to show it.
Somewhere along the way, in the nineties, all that changed. Seemingly overnight it seemed that guitar solos and playing fast and good became unfashionable. What once was cool, being proficient on your instrument, suddenly became uncool.
Bands like Nirvana and Soundgarden, who obviously had very little formal music training, became extremely popular. Suddenly, it wasn’t perceived as cool to actually play an instrument well. The new cool was being able to express yourself with very limited musical knowledge. Like, look at me, I’m so cool I don’t even need to practice.
Millions of aspiring musicians and guitarists were now aspiring to be like the new group of musicians they looked up to: mediocre musicians with no real chops to speak of.
Well I think it’s about time that someone stood up for the right to play guitar solos that actually demonstrate how good of a guitar player you are. I think it’s about time someone stood up for the right to play as many notes as fast as humanly possible, just because you can.
Playing a lot of notes very fast isn’t something to be ashamed of. Wanting to show people how hard you’ve practiced to become an accomplished guitar player isn’t anything to be embarrassed by.
I think it’s about time someone made playing guitar cool again.
That person is me.
In the following video, I demonstrate how to play the ultimate guitar solo and I break down what exactly the point of a guitar solo is, which obviously is to demonstrate how good of a guitar player you actually are.
Watch. Learn. And Enjoy.
I’ve known and met a LOT of musicians in the last 20 plus years of working in the music business. If you factor in all the musicians I knew from way back in my Berklee days, to the bands I played in and hung out with in my Chicago days, to the musicians I’ve met and interacted with via my website, I would estimate I’ve met at least 1,000 musicians over the years. That’s a lot of musicians! In fact, it’s a large enough sample size that I think can draw some fairly statistically sound conclusions about musicians and the likelihood of “making it” in the music business.
Of all the musicians I’ve met and interacted with over the years, I know of only one musician who I would describe as having “made it”, for a time. It was actually my former lead singer of a band I played in from 1999 to 2002, Joshua Scott Jones. He moved to Nashville after the band we were in together broke up, formed a country duo called “Steel Magnolia”, went on the CMT reality tv show called “Can You Duet?” with his singing partner in 2009, I believe, and won. First place.
As a result of their exposure on Can You Duet, for a time “Steel Magnolia” was riding high. They had two top 20 country singles. They toured arenas opening for artists like Reba McEntire, Brooks and Dunn and the like. They were nominated for several Country Music Awards. They appeared on Late Night with David Letterman. They were signed to Big Machine Records, the same label as Taylor Swift.
Their success continued for a couple years. Then problems ensued. My former singer, Josh, had drug and alcohol problems that forced him to leave a tour with Steel Magnolia to go into rehab. Problems developed between Josh and his singing partner, Meghan, who he was also dating and engaged to. They ended up breaking up. They were subsequently dropped from their label, Big Machine. They both went their separate ways and although they have both had limited success on their own, neither of them have been able to achieve the success they experienced together, individually.
I can think of one other musician, out of the 1,000 or so that I’ve met over the years that has had a relatively successful career as a songwriter. This particular person, the artist Bleu, that I crossed paths with a bit during my Berklee days, has written songs for a lot of well known artists like The Jonas Brothers, Selena Gomez, Hanson and the like. He tried to launch a successful solo career early on, and although immensely talented as a writer and performer, his career never fully took off. He’s opened up for artists like Jon Mayer and Train over the years, and was signed to a subsidiary of Colombia Records, but for reasons I don’t fully understand, it just never quite happened, at least in a major way.
The music business is a fickle business, achieving what most of us would consider “mainstream success” is something most of us will probably never achieve. I don’t say that to discourage you or get you down, it’s just a statistical fact. It’s pretty hard to argue with statistics and facts.
However, I’m also here to say that it doesn’t matter. In fact, I think this whole obsession with trying to “make it” and reach a certain level of notoriety and fame that we associate with success is actually what prevents many of us from ever actually achieving real, sustainable success.
Let me explain…
I think a lot of us, as musicians, have a sort of preconceived idea of what success in the music business looks like, or that we think should look like. Most of us started pursuing our dream of “making it” in the music business at a young age. I was 12 years old when I started playing guitar and daydreaming about becoming a rock star! We often start pursuing music from a fairly naïve, inexperienced place. When I was 12, for example, I loved the idea of being a rock star. Who doesn’t fantasize about things like becoming a rock star or a famous actor or celebrity? These sorts of goals seem to be part of our collective consciousness. Most of us have some version of this fantasy during our adolescent years.
As we grow up and move into adulthood, most people decide to “grow up” and pursue more traditional and stable ways of making a living. Some of us though, decide to go for it and chase our dreams. People like myself, and I’m assuming people like you if you’re reading this. A few more years go by and most of us don’t “make it”, because let’s face it, it turns out to be much harder than we thought it would be and as I’ve already pointed out, statistically it’s simply very unlikely. The odds were against us going into this.
However, maybe if you associate with enough musicians, you see one or two people that actually do, through a combination of talent and being in the right place at the right time, go on to “make it”. Then you think to yourself, it really is possible and so you decide to keep going for it. But, deep down, you feel discouraged that you haven’t gone farther, and you can’t help but to compare yourself to those who seem further down the road than you are.
All this comparing ourselves to other people and wishing we were somewhere else ends up slowing us down. Instead of loving the process of becoming better at our craft, we obsess about why we’re not “bigger” or “more successful” than we are. Instead of falling in love with the journey, we end up hating the fact that our journey is still unfolding. We long for our journey to end, or at least to lead us to a better place. We want to get to our destination already.
What started out as something we loved doing, making music, turns into something we end up despising, trying to “make it”. As we feel the abyss grow between where we are and where we think we should be, we grow resentful. The joy we used to feel when we picked up our guitar, or sit down at the piano, or sing, starts to fade. We start to associate something we were once passionate about with a feeling of failure and negativity.
This is the part of the journey, where most musicians just throw in the towel and resign themselves to the fact that they’ll never “make it”. It just wasn’t in the cards they think. They went for it, they tried, but it didn’t happen when or how they thought it should, so they decide to give up. I know this part of the journey, because I’ve been there.
But there’s another possible realization, one that I eventually reached, which is the realization that you can keep going. You can realize that although time does fly, life is actually pretty long and you still have time, so you get back to focusing on what you can actually control, the effort and dedication you put into your craft. You can realize that for 99.99% of us, there are really only two elements at play that really make a difference that we can actually control and influence; effort and talent.
Just like most businesses don’t unfold in the same way that Facebook or Google did, most artists won’t break onto the scene the same way Justin Beiber or Miley Cyrus did. And that’s ok. Most successful businesses are built on years of blood, sweat and tears. The same is true for most truly successful music careers. Most of us will never be an “overnight success”. Most of us will have to fight for whatever success we attain. To me, this is true success. Success that just luckily falls into your lap isn’t true success, it’s luck. I don’t know about you, but I’ve never been very lucky.
This blog post was inspired, in part, by Gary Vaynerchuck and the following video:
If you want an amazing dose of no holds barred, in your face motivation, be sure to check out Gary’s channel. Great stuff!
I often get asked to share more of my music with my readers.
I just finished my newest track, Our Love, a few days ago.
Although my producer Gary and I just completed this one,I actually wrote this song for my girlfriend a few months after we met.
Now, close to two years later, we're still together and I have this song to share with the world.
I feel like I did a pretty good job of capturing the sweetness and innocence of a new relationship in this one.
I also just signed this one to an amazing agency that I'm working with and should have some good news to share about this track soon!
I’ve been having a blast lately connecting with and interviewing so many different people working in different facets of the licensing business for my podcast, Music, Money And Life. It’s one thing to be able to give you my own anecdotal stories and experiences about licensing my own music. But it’s a whole other thing to be able to bring together and interview dozens of people working successfully in different facets of the licensing industry. I feel like I’m able to provide a much broader perspective by bringing so many different people into the conversation.
[By the way, speaking of my podcast, thanks to everyone who has been leaving me positive feedback. Thanks to you, I made it onto the charts as one of the highest rated podcasts in the music category yesterday! I really appreciate everyone who took the time to leave a review.]
By interviewing supervisors, publishers and songwriters all working full time in the business, I’ve been able to get a real “bird’s eye” view of how the business works. The big picture, if you will, of the music licensing industry. The life of a musician can be lonely at times, and one of my main goals with my podcast is to bring as many different people as possible working in the business on to share their stories, so that you can learn from a really wide range of people that work in the industry. So that you’ll get a better perspective on your own journey and hopefully feel a little less isolated and alone.
One of the best ways to learn, is to hear directly from people who are doing what it you want to do. I have some really great guests lined up for future episodes, so be sure to subscribe to my podcast if you haven’t already here:
In today’s post I thought I’d break down 7 key takeaways that I’ve gotten from the last few months of doing my podcast on a weekly basis and networking with a variety of people in the business. These are 7 points that pretty much everyone I’ve interviewed and spoken with has been in agreement on.
1) You can make a full time living, but it’s takes a lot of time and effort – One of the questions I’ve been asking everyone I interview is about the viability of turning music licensing into a career. Is it possible? Feasible? Is it practical to try to make music licensing a full time career? Everyone I’ve spoken with has said more or less the same thing. Yes it’s possible, but it’s going to take a lot of time and effort to get to that point.
Music licensing, most of the people I speak with say, should be approached more like a long term investment. Sort of like a 401k plan for musicians. It’s something that you need to build up over time. You need to approach music licensing like you would investing in the stock market. In other words, think long term and diversify. Write a lot of different songs. Place them in different libraries and with different publishers. Go direct to supervisors if you can. You might get lucky and land a huge placement right away. It could happen. But don’t necessarily count on that happening. Keep writing and pitching and over time the money you make will grow.
2) It’s better to write from the heart than to try and write what you think will work for licensing – Although it’s important to be aware of what works and why in the context of licensing, the overwhelming consensus has been that, at the end of the day, you should just write great songs that are inspired and from the heart. This advice that I’ve gotten, over and over, sort of took me by surprise, in a good way. I hate the idea of trying to force my music into some sort of pre-conceived, pre-determined, homogenized mold. The artist in me cringes at this thought. I went into this business to make art! If I wanted to just create cookie cutter widgets, void of substance and meaning I’d work in a factory or something. So the fact that the majority of people I’ve interviewed, from supervisors to publishers to songwriters, all agree that as songwriters we should, first and foremost, strive to write great, inspired music gives me hope.
Of course, you should still pay attention to things like lyrics and arrangement and make sure they’re not too far out of the realm of what works for licensing. You still need to consider the way in which your songs will be used, if and when they’re licensed. But don’t do this at the expense of the music you’re creating. Don’t forego writing a great song too simply try and make it fit the music licensing mold. Music supervisors are music fans. They’re drawn to the music business because, for the most part, they love music. Don’t forget this when you’re creating music you plan to pitch for licensing opportunities.
3) It takes a lot of pitching and submitting your music to land placements - The music business is competitive. There is a lot of music being pitched. I spoke with one prominent music supervisor who told me that she gets as many as 1,000 submissions a day! Many supervisors simply don’t have time to listen to everything that is being sent to them. Your job as a songwriter, is to rise above this noise and competition and get your music heard. Going through libraries and publishers is a good way to do this, as they can help you do the job of pitching and finding out about projects. They’ll take a cut of what you make of course, but it’s well worth it in my experience to have the extra help.
You can go directly to music supervisors as well and if you catch them at the right time, with the right track they might be open to it. In my experience, supervisors draw from a lot of different sources to meet their music needs and many are open to working directly with artists when it makes sense to do so.
Whatever route you go, if you want to do this at serious level, you need to devote considerable time to pitching your music and finding out about projects. Most writers that do this full time, devote at least two to three days to doing nothing but pitching. It really is where the true work comes in when it comes to landing placements. I wish there was an easier way, but the consensus is that to be successful at licensing, you need to keep pitching and networking on a regular basis.
4) You have to approach this like a job if you want to be successful – I think this piece of advice applies to any aspect of the music industry. You have to approach this like a job or business if you want this to be your job. Songwriters that make a full time living doing this, work full time hours! I think what Sam Beam, aka Iron And Wine, said about the music business sums it up, “if you treat music like a job, they’ll pay you like it’s a job”.
Apply this mindset to everything you do in terms of being a musician. Set up regular hours to write and record music. Have a set schedule you adhere to when you’re pitching music. Be consistent. There are a lot of musicians out there, but in terms of musicians that are really going for this in a serious way, it’s a much smaller pool.
5) You need to have thick skin for this business – This probably comes as no surprise, but the music business is really hard. It’s competitive. You will be rejected, most likely a lot. Don’t even pay attention to the rejection. Keep making music. Keep improving your music and keep pitching your music. If you’re passionate and motivated, eventually you’ll win other people over.
Of course, listen to the feedback you get, if you send your tracks to 20 people and they all say that your vocals are off key, take note and work on improving that. We all have things to improve. But, music isn’t an exact science. What one music supervisors hates, another might love. That’s why I don’t pay too much attention to criticism or rejection in general, unless it points to something specific that I hear over and over. There’s a difference between someone just not feeling a track and someone not liking it for specific reasons. If you know deep down you’re writing and recording great songs, keep pitching them until you find others that agree.
6) There are no guarantees when it comes to licensing, until a track is actually licensed - At the end of the day, there are no guarantees in this business until a song is actually licensed. You might find ten publishers who love your tracks and they all pitch them to no avail. It happens. Until a specific supervisor wants to use your track for a specific project and the song has been synced, it’s all speculation. Don’t let this discourage you, but also don’t forget this reality of the industry.
This is why the ongoing pitching of your material is so important if you want to approach this like a career. You never really know if something is going to happen, until it happens. Unless you are on staff for a network or hired by a production company to write music on a salaried basis, you’re always going to be looking for the next project and the next place to license your tracks. Of course, you’ll be building up residual income too, as some of your tracks will likely be used repeatedly and in different projects over time. But for most writers that are doing this on a freelance basis, in other words, most of us, the pitching never really stops.
7) You might decide this isn’t for you, and that’s ok - With all this talk about competition, rejection and how hard licensing is, you might come to the conclusion that this simply isn’t for you and that’s ok too. I feel like the only real reason to go into the music business in general is because you absolutely love making music more than anything else. If you don’t have that sort of intense passion for making music, than it really doesn’t make much sense as a career path. I believe success is possible for all of us, but if you don’t have an innate sense of passion for music, it’s doubtful that you’ll be able to push through the challenges.
Music, to me, is a calling. It’s almost a religious like calling. Any money and success I may happen to attain is really just a byproduct of my desire to get my music out into the world and have it heard. That’s really what drives me more than anything. At the end of the day, I don’t really care if my music is played in the background of a soap opera or a reality tv show. It’s nice when it happens, but more than anything I just love playing music and you know, I have to like eat and pay bills.
In my recent podcast with Emmy Award winning songwriter Michele Vice-Maslin, who has had over 5,000 placements in tv shows, films and ads, Michele stated that she works 15 to 16 hours a day, six days a week and takes Sundays off. I don’t know if Michele works this schedule every week, or if she was simply giving me an idea of how often she sometimes works to achieve the level of success she’s achieved. Michele is incredibly accomplished as a songwriter and in the world of licensing and I’m not surprised to hear how much work goes into her career.
If you haven’t already, be sure to check out the podcast I did with Michele, it’s one of my best yet.
Our conversation really got me thinking though about just how much work being a successful musician in 2017 requires. Michele also said in our interview that on average, she lands one placement for every thousand pitches she makes. In the last 25 years she’s had over 5,000 placements. That’s a lot of time spent pitching music!
Michele said in our interview that being a musician is so hard that she’s known a lot of musicians over the years that have quit and gone on to other careers that are less competitive and offer more stability. I’ve known plenty of aspiring musicians over the years as well that have changed career paths and pursued more conventional ways of making a living. Being a musician isn’t for everybody and if the pain of trying to make a music career happen outweighs the joy of being a musician for a sustained period of time, there’s no shame in making a decision to do something else in order to lead a more balanced, stable life.
But, how do you know when the pain you’re experiencing is simply a temporary setback that can be overcome, compared to knowing when you’re simply on the wrong track and no amount of goal setting or hard work will get you to where you want to be?
Is there such a thing as a goal that is simply too hard to attain because the insane level of work and effort required to achieve it simply isn’t worth it? Obviously we can’t all do anything we want to do. For example, I’m pretty sure at my age and with my lack of athletic prowess, I could never become a professional football player. As much as motivational speakers like to tell us we can all do anything we set our minds to and that if we can dream it we can do it, this simply isn’t true. Some goals are simply out of reach.
Knowing this, how can we distinguish between when we’re giving something up because we’re just too lazy or lack ambition, compared to quitting something because, despite our best effort, it’s simply not happening and we feel miserable as a result? In other words, how do we know when to quit something vs. when to continue the path we’re on and keep going for it?
There’s actually a great book about this exact subject that I read recently called “The Dip” by Seth Godin. It’s a short, simple book that breaks down when we should quit something that simply isn’t working for us versus when we should plow through the pain and setbacks we will inevitably confront on our journey to success.
One of the key points of the book is that contrary to popular opinion, quitting the right things at the right time is actually one of the keys to achieving success. To put it another way, if you stay on the wrong path long enough, you can actually prevent yourself from achieving success, since you’re spending time and energy doing something that you’re probably never going to be successful doing. In other words, there is an opportunity cost to our decisions. Whenever we choose one path, by default we’re giving up all the other paths we could have taken. We need to choose wisely.
The title of the book, “The Dip”, refers to a phenomenon that anyone who embarks on any sort of meaningful and worthwhile endeavor will experience at some point. Whether you’re starting a band, starting a company, launching a website, embarking on a solo career or fill in the blank and insert worthwhile objective here, you will experience “the dip”. The dip is when things get hard. The dip is when the fun and excitement of doing something inevitably wears off, but you still haven’t quite mastered what you’re pursuing and achieved the success you’re after. The dip is when some people make the correct decision to quit and it’s when others bail prematurely and probably could have had success had they endured this period a little longer. The trick is knowing what to do when this period sets in. Should you stay or should you go?
Knowing whether or not to quit really depends on whether or not you have what it takes to make it through this “dip” period. If you’re trying to do something meaningful and worthwhile, it’s going to inevitably get hard at some point. This period is the barrier to entry that prevents others from achieving the success you’re after. As Godin states in The Dip, “It’s human nature to quit when it hurts. But it’s that reflex that creates scarcity.” Of course scarcity creates value. The more scarce something is, the more valuable it’s perceived to be. If what you wanted to accomplish was easy, everyone would do it. If everyone could do it, it wouldn’t be that big of a deal.
So how do you know when to quit something you’ve started compared to knowing when to continue and push through the painful period of struggle that inevitably comes? Godin sums it up this way, “The decision to quit or not is a simple evaluation: Is the pain of the Dip worth the benefit of the light at the end of the tunnel?”
Should You Quit Music?
Seth Godin’s book, The Dip, provides some great things to think about and contemplate as it relates to pursuing worthwhile goals, like a career in music. However, real life isn’t always as clear cut as authors like Godin like to make it out to be. We don’t always know what lies on the other side of our efforts. How do we really know if we push through the painful difficult periods that success will actually be waiting for us on the other side? How long should we wait until we move on to something different? How can we tell when we’re on the right track?
These aren’t easy questions to answer and there aren’t always clear cut ways to determine what the right choice is, but one of the ways we can get a sense of whether we’re on the right path is to look at others who have come before us. How long did it take them? What did their trajectory to success look like? This isn’t a perfect barometer of course, but as Tony Robbins has stated, “success leaves clues”.
This is one of the main reasons I do my podcast and interview different people in the music business on a weekly basis. I want to know their stories. I want to know what it really takes to succeed. Everyone I interview has a different story. No two paths are exactly like. That’s one of the exciting, albeit challenging, things about the music business. There is no formula. What works for me might not work for you, and vice versa. However, if you speak to enough people in the industry that are succeeding on any sort of significant level, you start to see some commonalities. There are places where most success stories overlap.
One of the common themes that ties all the success stories together of people I’ve interviewed over the last few years is that they both really, really love making music and they’re willing to work extremely hard to achieve their goals. Like crazy hard. Succeeding doesn’t mean that every moment of every day is filled with ecstasy and bliss. I doubt this is ever the case for even the most “successful” musicians. But what it does mean, is that the moments of elation and joy you do experience, at some point, make the pain and frustration of the dip worthwhile. In other words, you’re willing to pay the price that success inevitably costs because it’s worth it. If the price isn’t worth it, then why pay it?
An Alternative To Quitting: Pivoting
In the past I’ve considered quitting music when I was in a fairly severe dip, when things didn’t seem to be working out at all. This period was in my early thirties, after a decade or so spent playing in bands that didn’t go very far, or at least didn’t go as far as I would have liked. I felt burnt out and frustrated and for a time I considered quitting music altogether.
Instead of quitting though, I modified my course. I decided to continue playing and pursuing music, but at the same time I incorporated some “safety nets” into my plan. I developed a few different revenue streams all connected to playing and writing music, and simply continued my path as a songwriter and performing musician. This modification in my approach to music, freed me up to pursue music in a way that isn’t quite so intense and anxiety inducing. It lowered the price I had to pay, if you will.
These days I make a good portion of my income directly from music. I perform regularly. I have fairly stable licensing income. I also make money from my various websites and courses. Together, these different income streams provide a level of security that allows me to continue to make music from a place of peace and calm.
Have I “made it”? I guess that depends on how you define making it. In a way I feel like I have, in the sense that I support myself doing things that, for the most part, I enjoy doing. But I still have much larger goals that I’m chasing, so in that sense, I still have a long way to go. And, I’m ok with that. Part of the fun is the journey, and as long as I’m able to provide for myself and meet my needs, I’m happy to keep fighting the good fight.
I’ll never quit music, because I’ve set my life up in a way where I’m not forced to make an all or nothing decision. But I also have enough of a vested interest in my continued success as it relates to my own music career and music business career, that I’m highly motivated to keep going and keep pushing things. This balance works out great for me. I know that no matter what, I’ll figure out a way to continue to provide for myself and my loved ones, but I also know that I can’t get too complacent and give up on my dreams and goals. To a large extent, my business and income depend on continuing to push myself and others, to find continued success.
What about you? How do you balance pursuing and/or growing your career in music and maintain your sanity and happiness? Are you experiencing a dip now or in the past? And if it was in the past, how did you overcome it? How are you able to push through your hardest moments? Where do you draw inspiration from when things get tough?
I’ve been completely self-employed for the last eight years, working as an entrepreneur and musician. Before that I was a guitar instructor and performing musician for the previous seven years and worked as an independent contractor, so was more or less self-employed during this period as well. I’ve basically been self-employed, in one way or another, for the last 15 years.
I’ve been working for myself for so long that it’s hard to imagine working for anyone else. Although I love the freedom and flexibility being self-employed brings, working for yourself isn’t always a bed of roses. There are some definite disadvantages to going the self-employed route. It’s not for everyone. Of course, there’s a big upside as well and in today’s post I’m going to explore both sides of the self-employed coin.
Here’s a list of downsides to working for yourself along with their corresponding upsides. The yin and the yang if you will, of being self-employed.
Downside #1 - Uncertainty
Let’s start with probably the biggest downside to being self-employed; uncertainty. When you work for yourself, the income you make will fluctuate. This is especially true in the first couple years of starting a business. I have really great months where I crush it and do very well and I also have months where things don’t go as well, sales dip and I have to scramble to figure out how to stay above water. Of course, this gets easier the longer you’re in business. Or at least it should if things are moving in the right direction.
I’m much better at dealing with the ups and downs now than I used to be. My business is also a lot more stable and predictable than it used to be. I rarely have horrible months anymore, but I definitely have months where things don’t go as well as others.
I have a fairly good idea of how much to expect in revenue from month to month. But, the uncertainty is something that you never completely get used to. Even after all these years, I sometimes find myself plagued by doubts like, what if the market changes drastically and people stop buying my products. Or what if I say something stupid in one of my podcasts and people don’t perceive me as the expert I claim to be. Or what if I spend months creating a new program and no one buys it.
What if, what if, what if… I’m human and sometimes doubts creep in.
The Upside To Uncertainty – Growth
Here’s the thing though, most of the horrible what ifs never happen. Sure, there are stressful moments and sure sometimes things don’t go as well as I’d like. More than a few times I’ve entertained thoughts about returning to the workforce and getting a “real Job”. But I’ve never had to, because things have never gotten that bad. My worst case scenario fears have never come true. I always have managed to find my way through the slow periods and my business has grown every single year, except one, since I started it in 2008.
Through all the ups and downs I’ve grown more resilient. I’ve learned way more skills than I would have had I continued the employee route. I’ve learned, in no particular order, how to make websites, create information products, interview people, host and run a podcast, make youtube videos, market myself online, do affiliate marketing, do accounting, write blogs, successfully network with music industry professionals, find and hire employees, host webinars and the list goes on. I’ve become way more versatile buy working for myself than I would have become continuing the route of working for someone else. .
I’ve also learned to simply have faith in myself and life. There’s a lot that’s outside of your direct control when you work for yourself. I can’t control who decides to buy my products and who doesn’t. I can’t control the overall direction of the economy. That feels scary sometimes. But over the years I’ve learned that if I simply focus on doing my job to the best of my ability, everything else will work out. It reminds me of the serenity prayer: “Lord grant me the serenity to accept the things I cannot change. To change the things I can and the wisdom to know the difference”. I focus on what I can change and have faith that the rest will work itself out. So far it has.
In short, I’ve grown, both as a musician and entrepreneur, as a direct result of running my own business and working for myself.
Downside # 2 – It’s A Lot Of Work
Another downside to starting and running your own business is that if you plan for it to be successful, it’s most likely going to require an enormous amount of work. There’s a joke about being self-employed that goes like this, “The great thing about being self-employed is that you get to choose the 16 hours a day you work”. Although I rarely work 16 hours a day, I work a lot and have put in my share of 12 hour days over the last eight years. When I look back and think about the amount of time and effort I’ve put into running my business over the last eight years my head spins just thinking about it.
To be honest, the first couple years of running my own business I didn’t work that hard. I was just looking to make enough income to get by and loved the idea of having more free time and working when I felt like it. This sort of worked for a while, but pretty quickly I realized that if I really wanted to reach my goals and have a truly successful business and life, it was going to require a lot more effort than I had been putting in. So, I stepped up and started working harder and harder. Each year I started to do a little better. The last couple years I’ve worked harder than ever and have had record years as a result.
The Upside To Working Hard – Success!
The upside to working hard is pretty obvious, which is that you reap the fruits of your labor. Thanks to all the hard work I’ve put in over the years I have a business that sustains me comfortably. I’ve also learned the value of having a strong work ethic, which helps me in every area of my life. I apply the same sort of work ethic to things like songwriting and performing and have reaped similar rewards.
If there’s one thing I’ve learned about hard work it’s that it works. I feel like as a society, we’ve sort of lost the work ethic and discipline we used to have. We live in a sort of instant gratification society where we all expect to get things very quickly. There’s nothing sexy or glamorous about working hard. It sort of sucks to be honest. But, at least for me, being broke all the time sucks even worse. It also gets easier. I’m actually pretty excited about getting up and working most days, because I know I’m building something real and sustainable. I overlook the aspects of working that I don’t like and focus on the fact that I’m building something very real and tangible.
Eight years, which is how long I’ve been running my own business, is a long time, but to get really good at anything takes considerable time. There’s something known as the “ten thousand hour rule” which is the idea that it takes, on average, about ten thousand hours of effort to truly master something. Malcolm Gladwell studied this in his book, Outliers. He found that when you examine the lives of most really successful people, it took them on average, about ten thousand hours of concentrated effort in their respective fields, which on average takes about ten years.
For most of us, substantial success, is going to require considerable time and effort, aka, hard work.
Downside #3 – Work Life Balance, What’s That?
One of the other downsides of working for yourself is that it can be really hard to strike a healthy balance between working and other aspects of your life, like relationships and finding time to just be and enjoy life. This isn’t to say that you can’t have the same issue as employee, you obviously can, and I know plenty of people who work for other people that still work too much and neglect other areas of their life. But I think it’s even more of a concern when you work for yourself. It can be much harder to find a healthy balance.
It’s ironic, because most people that are self-employed are probably drawn to the idea of working for themselves because they imagine having a greater degree of freedom and flexibility over their lives. Working for yourself does, potentially at least, offer much more flexibility in terms of when and where you work. But, if you’re not careful, it’s much too easy to slip into a pattern of working too much, to the point where other areas of your life suffer the consequences.
From time to time I catch myself simply working too much, neglecting friends and family. I don’t do it intentionally. But sometimes I’m so determined to get a project done or move certain aspects of my business forward that I find myself putting in way more hours than I would have as an employee. Of course, I reap the benefits of the work that I do, so I’m not spending my time in vain. But I find that getting this issue right is an ongoing balancing act.
The Upside To The Work/Life Balance Issue – Finding Balance
The upside to the issue of work/life balance is that if you set your business up correctly, you can achieve an amazing work/life balance and create a really cool lifestyle. I’ve gotten better at striking this balance over time. The thing is you have to do this very deliberately. You have to be very organized and create systems and processes that will allow your business to run smoothly.
Whenever I catchy myself feeling burned out from working, I take a close look at how I’m spending my time and look for ways I can do things more efficiently and effectively. This has been a gradual process of testing and trying a lot of different things over the years, but it’s reached a point where I feel like I have a really healthy balance. I schedule in plenty of time during my week to do other things like play and write music, relax, spend time with friends and so on.
I work much more effectively when I’m in a good mood and not overly stressed. It’s a bit like working out, if you work out too much you can actually over work your muscles and causes damage and injury. Work is a lot like that. We need to put in considerable effort to accomplish anything worthwhile, but there’s a point where it’s simply too much and not sustainable.
The bottom line is that working for yourself, isn’t for everyone, but if you have the right temperament it can lead to an amazing lifestyle with a greater degree of freedom and flexibility compared to being an employee. Being a musician in 2017 involves a degree of self-employment. Even if you have a day job and pursue music on the side, you’ll need entrepreneurial skills to navigate your way through the music business. The more you can develop a self-employed, entrepreneurial mindset the more you’ll be able to recognize and seize opportunities as a musician.
Some people just don’t have the stomach for working for themselves and I totally get that. The truth is, had I known just how hard it was going to be when I started my business back in 2008, I probably wouldn’t have done it. I would have most likely continued the path of least resistance, working in a job I didn’t really like that much, but that was relatively easy and stable. I’m so glad I didn’t know how much work was required though, because at this point, I can’t imagine doing anything else.
I often get asked to share more of my music with readers of my site and blog.
I just got my newest song, "Venus And The Moon At Night" back from my producer, Gary Gray.
I haven't pitched it anywhere or sent it to anyone yet. My assistant and I will start getting it out to the major blogs, promoting it on Facebook, Youtube and so on next week. Of course I'll also be pitching it to licensing opportunities via several different sync agencies I work with.
I'm sharing this with you before I share it with anyone else. I wanted you to hear it first.
I'm really excited about this track. So are my producer and vocal partner.
Check it out below and let us know what you think.
Follow me on Soundcloud here:
A few years ago I spent the winter in the Caribbean playing music in the resort town of Cabarete, in the Dominican Republic. The winter that I arrived there was an influx of new musicians to the area. A lot of them were willing to play music for less money than a group of musicians who had been there for years. In some cases, they were willing to play for much less, as much 75% less, than those who had been on the island for years.
The local musicians were understandably upset. They were being undercut in price by a younger, newer group of musicians, and it was affecting their business. In some cases they were forced to lower their prices and a few musicians either lost their jobs or saw their slots cut back to make room for the newer/cheaper crop of musicians.
One day I was out for lunch with another singer/songwriter, also named Aaron, who was playing gigs on the island and one of the older musicians who had been playing in Cabarete for close to ten years approached the other Aaron and said, in a fairly aggressive way, "Dude, you have to raise your prices. You're killing the market for not only me, but yourself too! You're setting a bad precedent for all of the other musicians playing on the island."
At the time, I thought this guy was over reacting a bit. But, he had a valid point. In any industry, prices are set based not only on supply and demand, but also what suppliers are willing and able to sell their product for. If a large percentage of musicians lower their prices, play for free, play for exposure and so on, it has an undeniable effect on all of us and it makes it harder for more established musicians to demand higher prices.
In my last podcast, with Jason Moss from Super Sonic Noise, one of the things he stressed was treating your music with respect and not just giving it away for little or nothing. He made the great analogy that you should make a choice of either "treating music like your bitch and pimping it out for a few bucks here and there. Or, treating your music like your wife, respecting it, nurturing it and demanding that people give it the respect (and money) it's worth.
We all have to pay our bills and meet our immediate needs. I understand the temptation to sign bad deals and chase a few bucks here and there. But, be careful about not selling yourself too short. Don't sign deals you're not comfortable with. The market is already flooded with cheap, mediocre music. Strive to be better than that. It hurts all of us when musicians settle for so little.
In my upcoming course, The Ultimate Music Licensing Guide, I break down all the different types of publishing, library and licensing deals out there. I also talk about one type of deal you should avoid at all costs and in my opinion you should never do.
Watch the video below to see what I'm talking about.
What are your thoughts on musicians giving away their music, charging too little money and so on? How can we as musicians work together to raise the value of music? Please share your thoughts below:
Today I have a really short post. I’m slammed this week. Between working on my new course, scheduling and making calls for my latest 180 Day Music Licensing Challenge, interviewing people for my podcast, editing my podcasts, rehearsing for shows, making youtube videos, pitching artists and working on my own recording project, I barely have time to come up for air.
But there’s a topic that’s been on my mind and I want to give you something to think about…
Something I’ve been hearing a lot of lately, in one form or another, is that the music business is over saturated. I’ve heard this same idea expressed to me by a few different musicians I’ve worked with this week alone. It got me thinking... Shit, is there simply too much music out there? It sure seems like that sometimes. Could it be that the reason so many musicians don’t go further is because there’s just too many of us reaching for the same goals?
It’s kind of a depressing thought. The idea that there’s just too much music and that even though we’re all writing amazing, earth shattering, ground breaking music, some of it will inevitably get lost in the shuffle.
But. Is it true? We can all agree that the market is flooded with a lot of music. There's definitely a lot of music being made. But what I want you to consider is how much of it is really good. How much of it is great? How much of it is amazing?
There’s no shortage of music. That’s for sure. But really. Let’s be honest. Most of it isn’t AMAZING. Most of it isn’t even great. Some of it is, but it’s a small percentage. A lot of the music that’s out there is pretty mediocre and average. Most of it probably falls in this category in my opinion.
What’s my point? The point is that although there's a lot of music, there’s no surplus of great music. Great art, whether it’s music, film, visual art or poetry (ok maybe not poetry), but great art will find an audience. It might take a few years, but if it’s truly great, people will take notice.
Yes, we have new challenges in this era, compared to previous eras, but was it ever really easy? Before perhaps there was less competition but it was hard and more expensive to record and distribute music. Now it’s easier than ever to record and distribute music, but perhaps harder than ever to monetize. It’s always been hard! There has always been challenges.
In a weird way, the challenge and struggle is half the fun. It forces you to pursue it for the right reasons. How much do you really love music? Are you really in this for pure reasons? Pursue music for a few years and you’ll figure it out.
As we enter 2017, I’m incredidbly optimistic and excited about this year. I'm more excited about my own music and music in general than I have been in a really long time. I plan to push things further this year, both with my own music and the work I’m doing with my website and podcast. I’m creating a lot of new content this year and I’m excited to bring it to you.
One of the new things I’m doing this year is adding a new segment to my podcast where I’ll be featuring other great artists and promoting their music. If you’d like to be considered to be featured on my podcast, send me a link to your music below.
I’m looking for great, innovative, original music filled with passion and soul. I know it’s out there.
It’s that time of the year again. It’s the end of one year and almost the beginning of another. I’m not really into writing New Year’s resolutions per se. But I do find that this time of the year is a natural time to reflect on the year that’s gone by and plan for the next. I don’t really make goals or resolutions per se, more like a list of things I’m going to make happen. Goals strike me as something we're going to try and do, as opposed to something we're going to definitely do. It's a subtle, but important distinction.
So, in that spirit, I thought I’d share with you my plan for next year as it relates to my website, my podcast, my blog, my music and all the content I'll be creating for you.
Here’s my plan for 2017…
2016 has been my best year ever, by a pretty wide margin, both in terms of my business and my music career. So in 2017, I’m doubling down on pretty much everything I’ve been doing in 2016. In 2017 look for a lot more content from me in the form of podcasts, Youtube videos, blog posts and of course, much more original music. As Bill Gates said back in 1996, “content is king” and in 2017 I’m going to be creating a lot of content.
I’m going to essentially keep doing what I’ve been doing, but just a lot more of it and at a higher quality. I’ll also be releasing and distributing content on a regular set schedule, so you’ll know what content to expect and when. I realize some of you prefer certain types of content over others, so I’m going to be releasing podcasts, videos and blog posts, all on a regular basis.
Music, Money And Life Podcast
I’m going to be doing weekly episodes of my podcast in 2017. I’m adding a new segment where I’ll be featuring some of the many great artists that I work with and come in contact with. I’ll be continuing to interview some of the best minds in the world of sync licensing and music publishing in the form of writers, composers, publishers, supervisors and more. I’ll also be doing episodes where it’s just me, exploring and sharing my thoughts on the music business and what it’s like being an indie musician and entrepreneur.
Look for new episodes each Monday starting in January.
My podcast: http://musicmoneyandlife.podbean.com/
On Itunes: https://itunes.apple.com/us/podcast/music-money-and-life/id637851748?mt=2
I’ll also be writing a weekly blog post on my website, Aaron Davison.net My blog has been steadily attracting more readers, getting more comments and feedback and my plan is to write a weekly blog post in 2017, exploring a variety of topics related to the music business and life as an indie musician.
My blog has been a great outlet to express my thoughts and ideas about the music business and really, just life in general. It gives me a chance to open up a bit and express a more authentic side of myself than simply writing about the technical aspects of the music business. I tend to reflect on broader subjects like relationships, travel, psychology and more, but almost always relate it in one way or another to the music business and the life of an indie musician. So be sure to stay tuned to my blog if you’ve enjoyed my writing over the years!
Look for new posts, like this one, each Thursday in 2017.
Here’s a link to my blog: http://www.aarondavison.net/blog
I’m also going to be releasing weekly videos on my music licensing Youtube Channel - https://www.youtube.com/user/urbrock
One of the keys to growing a following on platforms like Youtube is releasing content on a regular basis, so I’ll be doing that on a weekly basis in 2017.
I have two releases at least planned for 2017. One is a guitar oriented production music CD that I’m doing in collaboration with my producer/partner, Gary Gray. The other is a new full length CD of original vocal music that Gary is also producing. I added eight new tv shows to my resume in 2016 and signed with six different publishers and sync agencies! So I’ll be continuing to make as much of my own music as my schedule allows.
Check out the EP I just released, Shooting Stars, now available on Itunes, Spotify, Amazon and wherever music is downloaded, streamed and sold here:
If you want to keep up with what I’m doing music wise, licensing wise and so on, be sure to subscribe to my newsletter related to strictly my own music at: http://www.aarondavison.net/
New Course & Book: The Ultimate Music Licensing Guide
I’ll be releasing a brand new, in depth five hour audio/video course and companion book on Amazon in late January or early February called “The Ultimate Music Licensing Guide”. This project is a culmination of the last eight years that I’ve spent building How To License Your Music dot com and working with so many great writers, publishers and supervisors over this time.
I’ve spent the last several months creating this program and I’m more excited than I’ve ever been about a course that I’ve released. This course will be the most comprehensive and definitive course, that I’m aware of, on topic of music licensing. Period.
The entire program is included at no charge to everyone who signs up for the upcoming “180 Day Music Licensing Challenge”, starting on January 2nd!
There’s still time to register for The 180 Day Music Licensing Challenge here:
To everyone who has been following me over the last few years, a sincere and heartfelt thank you. I have a small, but devoted following of around 10,000 subscribers that have allowed me to continue to pursue my passion of making music and producing educational and hopefully entertaining content and media related to the music business for over eight years now.
My plan going forward is to turn this into a true empire. Really. My goal is to become a known brand (even better known) in this space, as both a musician, podcaster and educator, and continue to work with, promote and support the many talented independent artists around the world. Music and art cannot die and whatever I can do to help artists flourish and continue to follow their passions, as I follow mine, is what I will continue to do.
To an amazing 2017 and beyond. It’s going to be a busy one, but I know it will be fruitful. Cheers & Happy New Year!
PS – What about you? How was your 2016? What are your plans for 2017? Let me know in the comments! And let me know what type of content you prefer most from me and what you’d like to see more, or less of, in 2017. Blogs? Videos? Podcasts? More music? Your feedback is greatly appreciated!
The blog of musician and thinker of deep thoughts, Aaron Davison.