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How To Approach Music Supervisors. Last week I received an email from a NARIP member who is preparing to send his client’s music to music supervisors nationwide.

How To Approach Music Supervisors

He wanted to know “best practices” in pitching them, what they like to see, how they prefer to receive music (CD or e-mail attachments, for example), how many cuts they like to get, and what kinds of background material they like to get about the artist (reviews, clippings, photos, etc.). I gave him a detailed answer, which he so appreciated that I thought I’d share it in case others may benefit from it as well. I have the answer for you. The best practice – BEFORE you begin wasting tons of money preparing and mailing fancy press kits, photos and CDs – is to research every single music supervisor individually. Mass mailing is like carpet-bombing and a complete waste of time and money. Music Supervisor List. A list of music supervisors might look like the Holy Grail to the uninitiated.

Music Supervisor List

But having a music supervisor directory is only part of the puzzle when trying to pitch your music for film and TV. Knowing what the people on that list are currently working on, and what kind of music they’re looking for at the moment is the true key to success.. Music supervisors aren’t just looking for good music, they’re looking for great music that fills a need.

How Music Licensing Works" Let's say you are reading Rolling Stone magazine, and you find an article about an ad campaign that Phillips has launched.

How Music Licensing Works"

The ads feature the Beatles hit "Getting Better". In the article you read this: But according to the licensing expert, the company no doubt "paid a fortune" for the Beatles hit: an estimated $1 million.