P: Person I: Information T: Timely C: Captivating H: History

Person: Ensure this is in fact a match for the person you’re pitching. Don’t pitch a publicist about your music if you’re trying to get a publishing deal (this happens a few times a year to me). Similarly, don’t pitch country music to a rock-focused publication. If you’re pitching an A&R person at Warner Music on your rock band, make sure it’s not actually an A&R for Warner Nashville, which would be the country division of the label. The point is, be hyper-focused on who you’re pitching to ensure it’s a fit. This will increase the odds of receptiveness.

When pitching journalists, knowing these three aspects about them will massively help increase the likelihood of coverage opportunities:

1. know their genre affinity; investigate what type of music they generally write about before you pitch them.
2. is there a topic you see as a thread connecting a lot of their features (like LGBTQ+ artists or a focus on a new music scene in a specific city, etc).
3. does the journalist only do certain types of features (exclusives, premieres, interviews, album reviews, etc…)? You need to know this so you can properly ask for the type of coverage they are assigned to in your pitch…i.e. don’t ask for an album review if they only do breaking news coverage!

Information: All key details and assets on what you’re trying to promote such as release dates, song titles, what the music sounds like, etc…need to be presented in a digestible flow. A lot of times, artists will reach out to us, and not include details about a new release they’re preparing for, no links to hear the music or watch videos, no links to past media coverage or social media accounts. When you’re reaching out to someone for the first time, it might be your one and only shot at grabbing their attention. Make sure you provide them everything they need right up front.

Timely: you need to be pitching with proper lead time. Ideally you can also connect to a timely, newsworthy angle. By understanding who you are pitching yourself to, you’ll have a better understanding of when to get in front of them. For example, if you’re pitching the media because you have a new single or album, make sure you’re pitching them months in advance as they need that lead time. A publicist or marketing agency cannot help you on a project unless you start working with them months ahead of the planed release. Also, maybe your new song is about the loss of a loved one due to Cancer. As an example, you might consider releasing it in October which is National Cancer Awareness Month. It would provide you and your team a deeper story to tell as it’s anchored to a national month of awareness.

Captivating: Make sure you’re telling a story with colorful wording and a good flow. Based on my experience you really only have 2-3 sentences to truly capture someone’s interest to investigate you further — so you want to be as captivating as possible with your storytelling and hooks. Be clever, and short, with an email’s subject line. But don’t go so far that it comes across as spammy. When in doubt, personalize your pitch to show that you put the extra time into your outreach and that this is not just a copy/paste blast that’s being sent to hundreds of people at once. Yes, it takes more time but the odds of someone paying attention to you will increase.

History After you hook the person you’re pitching with the captivating details, then hit them with more background information. Typically, at Milestone Publicity, we craft our pitches to flow with the most important information first and then move into the background, history and past accolades of an artist or band later. It’s all important information to include, but if you’re a new artist don’t lead with where you are from or what inspired you to become an artist, instead save that information for AFTER you’ve hooked someone with a captivating story angle, release dates, links to the music, etc.

About Mike Gowen:

Mike Gowen has established himself as one of the go-to media relations executives in the industry. Not confined to any one musical genre, he’s become known as an invaluable utility player on an artist’s team as he currently ignites his 14th consecutive year in public relations. In January 2019, Gowen founded Milestone Publicity, further building upon his already lengthy resume of being hands-on with the PR campaigns for icons and emerging talent.

The firm has now become one of the top sought-after PR companies in the field, representing Rock & Roll Hall of Famers, GRAMMY Award-winners, CMA Award-winners, multi-platinum selling artists, and Songwriter Hall of Famers, in addition to Emmy and Golden Globe Award-winning talent.

We touch on merchandise throughout this book, in particular when building your pre-order to generate income before your music release. Now let’s discuss best practices to maximize your sales. 

Creation 

In an ideal world, give yourself a few months lead time to design and create your merch, as supply chain issues can arise at any time. However, the most cost effective merch, and often the most creative items, are the goods you create yourself. Let’s break down your options so you’re fully informed on which path, or hybrid route, make sense for you. 

DIY and Self Printing 

If you don’t have much of a budget, this may be to your advantage. You can create handwritten lyrics, write a letter to fans, bake them cookies, write a song (charge a lot for this), do a dedicated video shout-out, and/ or create a custom voicemail. The sky’s the limit here. These are items you can charge upwards of $50 USD for and doing so doesn’t take much more than your time. Most artists also know how to find a local print shop, if you want to go that route as well. I encourage you to start simple, as you’ll have to pay for goods up front. I also heard from a band that sources their merch shirts from Goodwill, which is better for the environment, cheaper for the band and their fans love it. Many print shops will help you create stickers and buttons/badges or you can buy a button/badge maker. Posters are a really cost-effective item that you can charge more for if the poster is autographed and even more if it’s personally autographed. 

There are also countless online and local T-shirt options. Many artists opt to print in the U.S. or countries that pay a fair wage. If you do so, note this publicly. Because if this is important to you, it’s likely important to your fans. Also ask the print shop you’re working with if you can provide the raw goods, as they will mark up any goods they provide otherwise. Also be mindful of how expensive it can be to print with a multitude of colors. Remember that you can have sleek merch with a more simplified design. Similarly, when ordering any merch, including vinyl, ask where the price breaks are so you can make smart decisions and keep some stock for your live shows and webstore. 

On-Demand Merch With Fourthwall 

On-demand merch is a newer option where you’ll have a lower profit margin, but your fans can place orders piecemeal so you’re not stuck with unsold stock if you’re not sure what quantities to begin with. This is a great concept for new artists in theory. I say in theory because with any merch company, but especially on-demand companies, please ask for samples before working with them. I’ve seen terrible on-demand merch over the years that is misprinted or falls apart. However, a new player in the game, Fourthwall has been changing that. Fourthwall prides itself on retail-quality on-demand merch for creators. So much so that when I interviewed their COO Eli J. Valentin on this book’s podcast, an artist said, “Fourthwall has entirely changed my merch offerings for the better! Not having to manage stock allows me to be more creative in what I can offer.” Although you’ll make more money with a DIY or traditional merch store, Fourthwall is a great partner to get rolling with as you grow your career. 

Traditional Merch Companies and Earth Conscious Merch 

I love the company Ambient Inks. As of this writing they have committed to shipping all webstore orders in upcycled, compostable and/or eco-friendly packages while using no plastic film in the screen developing process and utilizing environmentally-conscious chemicals/inks. As well as working with brands that exceed industry certifications for sustainable and ethical manufacturing. In addition to upcycling all misprinted shirts into test prints or shop rags and all misprinted posters into notebooks and other items. Ambient Inks is also using a filtration system that makes all water used in production drain-safe. So if you’re to the point of working with a traditional merch company—go with Ambient Inks if you are generating strong enough merch numbers that you’re overwhelmed and need help with fulfillment and tours. Traditional merch companies will receive a commission in the range of 20-30 percent for fulfilling your online merch store and you can buy stock directly for live shows. 

Merch Gone Wild and Data Collection Alert 

When your career grows and you have more cash flow, that is the time to go wild with your merch. You can create hats, scarves, lingerie, hair extensions, cannabis paraphernalia, long-sleeve shirts, hoodies, bandanas, beanies, temporary tattoos, patches, socks, phone cases, pens, backpacks, keychains, sunglasses— whatever you want. Again, if any of these items are crafts that you or an artisan created, let your fans know that and mark up the price a bit accordingly. And if you are doing something limited edition, be sure the merch company lists this important detail on your webstore. Also always ask your merch company to share fans’ email addresses with you and then ask the fans if it’s OK to add them to your email list. 

Sales/Specials and Promotion 

Everyone loves sales and special items! So keep that in mind for holidays and especially for your birthday. They’re your fans, so why not give them a reason to celebrate you? Fourthwall COO, Eli confirmed they see a massive sales spike when artists do this because unlike a holiday special, your birthday sale is unique to you. 

To create compelling soundscapes, it’s essential to understand professional techniques. Even if you don’t have a similarly large budget, you can still step up your sound game. Here's how:

During shooting, the director prioritizes visuals, but once things move to post-production, sound is critical. If quality sound hasn’t been captured during shooting, a great deal of time – and money – will be lost in post-production trying to rectify it. At that point, creators will have to use automatic dialogue replacement (ADR) by rerecording the dialogue and sounds, or hire professionals to fix the tracks. However, that’s not always easy to do. Sounds can sometimes be overly compressed or plain noisy. 

So, what can creators do to ensure their sound is top-notch? First, it’s essential to buy professional-grade equipment and use professional people. That way, the chances of having to make major changes in post-production are reduced. And when it comes to post-production, too many people with online content believe it’s easy to fix a noisy track. While there are fancy studios today that can do a lot of things, it requires a lot of knowledge, experience and skill. 

To ensure hiring is spot-on, there are ways to vet a sound professional. The first is by watching their reels. Do they fit in with the creator’s vision? If a reel shows an ability to create clear, loud noises, dramatic gunshot firing or a grand cinematic scope, they might not be the right person for a sitcom. In those instances, you need someone who is good at cutting dialogue and mixing. Creators shouldn’t be afraid to ask questions directly. 

“Sound design requires a delicate balance between effects and music. While the effects will provide the detail, music sets the emotional tone, providing rich texture in both documentary and feature productions.”

Once a sound editor has been chosen, it’s important to ensure they can work with the video editor. Everyone in a studio has an ego; everyone wants their own work to shine. The only way a collaboration between a video and a sound editor can function is if everyone is fixed on the goal of the project. As the most critical challenges tend to arise in post-production, ask how they have solved problems in the past. 

One way to head off conflict is to create checklists with bullet points and technical specifications. This allows both parties to follow the checklists, a kind of guideline. Another way is to follow an email chain for everything that needs to be done. By not leaving anything to chance, both the video and sound editor are clear on what’s needed. Then, if there are any conflicts, questions can be handled by the director or the producer. 

Sound design requires a delicate balance between effects and music. While the effects will provide the detail, music sets the emotional tone, providing rich texture in both documentary and feature productions.

Collaboration - a meeting of minds - between the post-production sound crew, the composer, and the editor, director and producer is essential in the melding of effects and sound. Music tempo, beat, structure are all considered to assure background music tracks complement the accompanying visuals and spoken word add meaningful effects to the overall production. Processing and combining dialogue, music and sound effects are a delicate and sometimes tedious process, but no less important to the overall theme meant to be delivered.

To this end, a structured timeline is an essential element in the workflow of a  successful sound production. There should be no guesswork. A constant flow, a give and take, is an essential element in strengthening the work for the most powerful audience impact.

No question, the sound track post-production process is often tense as a result of tightly structured deadlines. On the surface it may appear the system requires over the shoulder direction, but, in fact, quite the opposite is true. Once the post-production sound team reaches an understanding about the needs and desires of the producer and director, much of the process can be conducted through check lists and email chains. As detail work comes to a close, however, an in-person session is a natural necessity.

Hollywood has always understood that without excellent sound, you can lose an audience. Don’t let it happen to you. 

Great Hollywood sound first hit theaters in 1977 with the release of George Lucas’ “Stars Wars,” which was screened with Skywalker Sound by Lucasfilm. Over the past five years, critical advances in sound design have also been made with Dolby Atmos’ object-based audio and powerful surround sound.  

Advances in sound design have created thrilling productions that resonate deeply with audiences. “Top Gun: Maverick,” released in 2022, was a huge hit, in part because its sound felt so real. The movie won an Oscar for best sound design. 

Today’s content creators – even if on a smaller scale – should take a leaf out of Hollywood’s book by placing sound design at the top of their list, employing the right people and using the newest technology. Impactful, layered and thoughtful soundscapes are critical to a production’s success.

DAVID ZANG is the owner of AsparTateSounds in Los Angeles. He is an award-winning re-recording mixer, a sound editor, and a location sound mixer. Feel free to reach out to David on his website, www.aspartaterecords.com

Cover songs - When you’re starting to write your own songs don’t be afraid to cover your favorite songs. When you do this, you should also analyze the lyrics, melody and chord structures. Covering songs you aren’t that familiar with is also a great exercise. Because you don’t know them as well as the songs you cover by your heroes, there is more room for interpretation.

Find your vocal range – If you’re trying to cover a song, but it’s not in your range, practice transposing songs to where you can sing them in a comfortable range for your voice. Alternatively, you can mess around with keeping the songs in the same key, but changing the melody to fit your range. A huge part of your voice is YOUR VOICE and interpreting other people’s songs in that voice is great practice. Check out artists who have interpreted others' songs in their own way. I will always love you, by Dolly Parton, sung by Whitney Houston is a good example, or “Hurt” by Nine Inch Nails; sung by Johnny Cash.

Write to the changes – If you come across a sequence of chords that really stands out to you, write a song to those chords. You can always rearrange the chords, or change the harmonic rhythm, meaning where the chords are placed in relation to the beat.

Write to lyrics – As a song writing exercise, I wrote solely to the lyrics of Bonnie Raitt’s song, Guilty, writing new chords and melody without ever hearing the song before. When I finally listened to her original version and compared it to my version, I could see that mine was clearly in my voice and approach.

This exercise can show you a lot of what your musical style is. Since you have no reference point to what the original song sounds like, you’re completely free to come up with your own sound based on the lyrics and you might come up with an interesting result. 

Don’t put your songs on a pedestal – Write A LOT of songs and don’t get too stuck in the weeds when working on them. Sure… If you have a solid idea you need to work on, by all means, take the time to hammer it out. But don’t keep tweaking the same group of songs over and over again, because you would have written ten more songs by that time and there will most likely be bits from those other songs you were tweaking in the new one’s – they just work better now.

Stand your ground – When collaborating with an engineer, producer, or musicians you do need to be flexible, however there’s a difference between being flexible and sacrificing your idea. This can be hard at first because you may be working in the studio with someone who has more experience than you, but be sure to speak up for what you want because at the end of the day, it’s your song and you have to live with it.  

Be Honest – Say what you feel in your lyrics. You can always edit later, but don’t edit yourself in the songwriting process. Also, be honest with yourself. What are you good at? Don’t shy away from the thing that is unique to your personality. Remember, it’s the way that artist see the world that makes them unique. Find out what it is that makes you, you and lean into it!

Your music may not sound like the music you listen to and that’s okay – I have heard some people at my shows say that my sound reminds them of Radiohead and after all… they are my favorite band, but I think in the beginning I tried to copy their sound a little too much and now, even though you may still be able to hear the influence, I’ve dropped hearing Thom York in my head when writing songs and leaned into my own voice and a vocal range that is comfortable for me. I also love Mac Miller, Idles, Nirvana and Audioslave, but I don’t sound like them. What comes out of you is what comes out and be careful not to shy away from that because you don’t sound similar genre wise to that of your idols. 

Live your life – I saw Johnny Cash say in an interview that he needs to “Fill up, before he pours out.” Even when you don’t feel inspired you are always collecting experiences and ideas and they are uniquely your own. You need to collect those ideas and live life outside of music in order to “fill up” with life experience so you have something to talk about. And, make sure that when a little idea comes whether it’s a lyric, melody, or song title, that you write it down or record it.

Keep learning - I don’t believe one day you arrive at having found your voice, you just figure out what you want to say and how you want to say it, but you should always be in pursuit of “finding your voice”. Always be curious and playful because that’s when the best music is made.

Listen to lead single by CHNNLL “Kick It” at: ffm.to/a4anqrm.OPR

After some long and painful fights, the issue of A.I. — at least for actors and writers — has been resolved. For the rest of us in Hollywood, however, the unpacking of A.I. has only just begun. Navigating the future of the sound design industry will depend on engineers and editors understanding how to maximize the capability and productivity of A.I. tools. 

While filmmaking and production were shut down for most of the year by the long and painful strike, the industry of Hollywood has continued to churn. Though the “Barbenheimer” craze over the summer cushioned the economic blow for some studios, the last six months have seen major Hollywood studios bend over backward to improve profitability. 

Studios direct-to-consumer offerings — streamers — have borne the brunt of these efforts; in this grand experimentation, everything from storytelling structure to pricing models have been on the table. Streamers have merged, shifted, and cut entire projects in an attempt to impress investors with their bottom line. 

It’s a reasonable concern, then, that having failed with the actors and writers, other, less powerful and more technical groups — such as sound engineering — may be on the line for A.I. replacement and the presumed associated cost savings. And it’s not necessarily a wild leap: it’s inevitable that A.I. will, as with other industries, dramatically shift what the workflow for sound engineers will look like.

Sound engineers looking to forge their future not only during these tumultuous times in Hollywood, but also in the “civilian” sector, need to be smart about how they deploy A.I. There are already tools available that can help us speed up our processes and projects. Two good examples:

• Sound cataloging and library management: Finding a specific sound in a sound library can be an incredibly time intensive process. I know that my own library is made up of over two terabytes of various sounds, and digging through it to find a specific one can take hours. There are A.I. tools on the market that can not only uncover a sound, but also generate timestamps inside each audio clip.

• Audio description mixing: Mixing for audio description can be a rote process. Clients have specifications they want met, and save for a bit of artistry, the process is fairly straightforward. A program’s audio needs to drop at a certain point before the narratives begin, and resume shortly after it ends. A.I. can automate the process, doing an effective first draft of the work, creating time for the engineer to check and fix any mixing issues after the first rendering. 

As in other industries, these tools offer methods of speeding up delivery and service, and will eventually become the standard practice. As cost savings continue to be a major priority for studios, expect to see A.I. technologies implemented to a greater and greater extent. 

But will sound engineers face an existential crisis as a result of A.I.? 

Yes — and no. 

As the more basic tasks of sound design — such as sound effects cataloging and audio description mixing — are outsourced to A.I. tools, other novice positions, like interns and PA roles, will likely dry up. If companies can find cost savings by using technology, they will, and the impact will likely be fewer roles for individuals just getting started and learning the business. 

At the same time, sound design — like many other post-production positions — is both an art and a science. The best among us have the technical skills needed to create a cohesive soundscape, while also having the artful ear that can create a character out of the audio. Part of being a sound designer is having the ability to translate a director’s vision into a rich and immersive sound experience. 

In an industry that runs on connections and creativity, removing the position of sound engineer likely won’t happen, especially at the highest levels. Certainly, the lower tier and newer streaming services — those who are just creating content for content’s sake — may turn to some emerging A.I. tools to churn out fast, good enough sound designs that simply gets the job done. As TikTok and TikTok-like mini productions grow in popularity, rapid turnaround will be prioritized over quality. 

But there will continue to be a happy medium for sound design and engineering. Work in this industry long enough, and you know that relationships are everything. Directors are on the lookout for partners who have the emotional sensibility and creativity to translate their vision, add to it, and produce something even better. 

The Oscar-winning directors of the world aren’t likely to give up that relationship soon, attached as they are to the individuals who help to drive the creative process alongside them. Similarly, independent artists and filmmakers, who are driven by creativity and passion, aren’t likely to pursue ease over art. 

Soft skills will still win the day for sound designers, but smart studios can, and will, start bracing themselves for an A.I.-driven future. 

DAVID ZANG is the owner of AsparTateSounds in Los Angeles. He is an award-winning re-recording mixer, a sound editor, and a location sound mixer. Feel free to reach out to David on his website, www.aspartaterecords.com

TIP #1: PEOPLE LISTEN WITH THEIR EYES FIRST

Never underestimate the power of a good outfit. When the band was starting out, we were playing a lot of basement shows with four or five different bands on the same bill. Most of the time, attendees weren’t specifically there for the music and just came for the party, and in a sea of skinny jeans and tee shirts, it was almost impossible to stand out.

One day, Curtis bought a purple and gold metallic sweats set off of a friend and wore that on stage, and everything clicked into place. We all found our own monochromatic jumpsuits and wore them every time we played, as well as did photoshoots in them in empty classrooms. Soon enough, the party people began to identify us from the outfits, and we gained a following around our city.

Like Taylor Swift, we had “eras” of our own; the jumpsuits gave way to all-silver numbers (sewn by Curtis’s mom!) and then we pivoted to a retro throwback baseball jersey look. Right now, we’re rocking some NASCAR fire suit-inspired coveralls with logos all over them. We believe our show clothes get us—and our fans—into the “Mom Rock” mindset.

TIP #2: THE BRAND IS BIGGER THAN YOURSELF

We’ve always been a fan of audience participation, so we wanted our fans to become a part of our brand, too. When we were in our “baseball era,” we wanted to give fans the opportunity to feel like they were a part of our “team,” so we sold the jerseys as merch with the opportunity to customize the name and number that appeared on the back. After performances at festivals, we would walk around and hand out baseball cards that doubled as business cards (wallet sized for easy storage!) It’s always so amazing to see showgoers wearing jerseys in the crowds and find some common ground with not only us, but also each other.

Nowadays, we have our NASCAR trading cards and NASCAR-dupe tee shirts, but we’ve been working on new ideas to flesh out the concept with even more opportunities to expand outward with efforts like brand collaborations and multimedia projects. If you have a solid foundation, building on top of it is easy!

TIP #3: BE AWARE OF TRENDS, BUT DON’T FOLLOW THEM

As music lovers, we always want to hear what other artists our fans are listening to. If we notice that our fans seem to like another band that we’ve never heard of, we’ll look into them and their brand, identifying our similarities and differences. If we see a band excelling in an area that we consider to be a weakness of ours, we’ll analyze them to see what they do and how their fans react to it. This is only helpful if you are self-aware enough to identify those weaknesses in the first place, so we try to “take inventory” every so often to gauge what we should be focused on.

That being said, we don’t like to be followers. With attention spans so short, micro-trends dominate the landscape, so if you try to chase a trend, you’ll likely end up missing the boat entirely. Hard-core trend-chasing also takes away the time, energy, and resources necessary to focus on any original concepts that may have been thought of and rolled out in the process.

TIP #4: COMMIT TO THE BIT

We’ve always gravitated toward big, high-concept ideas. Coming up with ideas is one thing; executing them the way we imagine them is a different story, requiring a lot of prior thought and preparation. We aim to align everything we do—stage wear, album art, merch, video content, and even social media posts—to our current aesthetic for a full package cohesive vibe.

We aren’t afraid to draw inspiration from some more unorthodox sources, so beyond music, we look to branding in film, television, literature, fashion, and sports. By diversifying our influence pool, we always have fresh ideas flowing.

Even if an idea seems too involved or difficult to pull off, go for it!

For example, for our debut album Now That’s What I Call Mom Rock, we took a very “meta” approach to its branding, playing with the irony of a musical artist being reduced down to a “brand.” From the parodied infomercial music video to the logomania on our stage outfits to the album art depicting ‘80s editorial-style print ads, we went all out, poking fun at consumerism while indulging in being the thing consumed.

TIP #5: BE YOURSELF, HAVE FUN

The corniest tip on this list, but by far the most important!

In the age of social media, brands are constantly faced with concerns of authenticity and fakeness. Fans can easily sniff out when someone or something is disingenuous, so sticking with ideas and concepts that are natural to you is always the best bet. The more that you genuinely enjoy an idea, the more invested you will become. The more invested you are, the more likely the execution will be better! This of course goes beyond building an image or a brand—sticking to your guns will benefit you immensely in the long run.

We started this band because we were some college kids who loved to play music and entertain people. We didn’t have all of the concepts from the get-go, but the more we got to know each other and the Mom Rock “identity” as a whole, the more naturally they came to us and the more we enjoyed building the brand. –Mom Rock

The Nashville-based trio, MOM ROCK — Curtis Heimburger [vocals, guitar], Tara Maggiulli [bass, vocals], and Wilson Reardon [drums] — craft bouncy rock & roll anthems charged up by airtight pop hooks and one-liners delivered with the swaggering aplomb of an Avenger. Following millions of streams, packed shows, and acclaim from the likes of Rolling Stone, the band might just rescue you(even for one night) with their 2023 eight-track debut LP — Now That’s What I Call Mom Rock.

A production music library is a database of hundreds to thousands of pieces of music that are written in advance with no specific project in mind. The music is categorized by concepts like mood, instrument, tempo, etc. Most music libraries are searchable via tags embedded in the metadata of the file.

For instance, if a director wants a piece of music for their project, they could type in terms (also known as “keywords”) such as “cheerful,” “acoustic,” and “guitar.” The database then filters the search results to show only pieces that are tagged with those terms, therefore, narrowing down the search.

While films and games still tend to hire composers to create a bespoke score, productions like reality TV shows, commercials, corporate training videos, and internet and radio advertisements are more and more using a production music library to find what they need.

While library music has been around for a long time, in the past decade its use has skyrocketed. The shift to more “reality-style” shows and internet streaming services has contributed to its rise in popularity for these reasons—The first: Using library music is typically cheaper than hiring a composer. Two: obtaining a license is relatively easy. And three: Instead of writing the music to the picture, a production company will edit the picture to the music.

Getting Started in Production Music Libraries

Because of their growing popularity, there are now many large music libraries in existence that contain hundreds of thousands of pieces of music, all tagged, all searchable. Do a Google search of “Production Music Libraries,” and you should get a list of the current heavy hitters.

A lot of major record labels like Universal Music Group and Warner Chappell Music have also thrown their massive hats into the library game, making it difficult for smaller independent libraries to get noticed.

The good news is that most of the major music libraries, minus the record labels, are reasonably open to new composers submitting their music. The bad news is, you need have a fairly exhaustive list of material before they will even consider you. Music libraries look at composers like a numbers game. The more composers and material they have, the more likely they’ll be able to license and make money off of them.

However, don’t think that because it’s relatively easier to submit to a library that they’ll just accept any old piece of music. There are protocols and requirements for submissions, the most important being that your tracks have to sound professional, polished and finished, so that they could grab your piece of music, plop it into a show, and they’re done. There is no room or time for demos in library music.

Therefore, make sure that before you submit or pitch your music to a library, it sounds broadcast ready.

Tips for Production Music Library Success

While each library may have some different protocols for how they handle their music, there are some universal standards that they all abide by.

Following these standards from the start can greatly enhance the possibility that your music will be picked up.

• Make sure the music is broadcast ready.
• Keep your tracks under three minutes long. One minute-thirty seconds to two minutes is optimal.
• Follow an A, B, A structure. Start with an idea, change to something else, then readdress the initial idea with more musical development.
• Add edit points every thirty seconds. This allows an editor to cut and possibly rearrange the music to fit the scene on which they are working.
• Create a thirty-second version for use in commercials.
• Make stems of each instrument group. Stems (short for “stereo masters”) are files from a recording separated by instrument or group of instruments, often for the purpose of creating an alternate mix.
• Learn the naming protocols of the library. It may be something like “Sunrise(title)_95bpm(tempo)_Amin(key)_Sad(mood)_24/48(sample rate).” Each library will have its own naming protocols, with which you should familiarize yourself.
• Embed the metadata for the track. The metadata within the files is how the tracks become searchable within a database. This is where you can tag the track with any relative search terms (keywords) based on mood, tempo, key, feel, etc. It’s also obligatory to embed all of your personal information, such as your name, your publisher, your PRO information (ASCAP, BMI, SESAC, etc.), and any splits with other writers. Most DAWs have the ability to add this information to your files while exporting. Familiarize yourself with this process. It's absolutely necessary if you want to be paid for mechanical uses and streaming.

The big thing to remember when you sit down and write music for a library is that it needs to evoke a mood or a feeling, the same as if you were writing music for a film—the biggest difference being that you won’t have someone guiding you as to what they’re looking for. This can be both frustrating and liberating at the same time. When composing library music, I sit down with a mood in mind. It may be with the intention of writing some upbeat pop/rock tracks, or I may be feeling a little melancholy, so I write something moody.

The point is, as long as it evokes a feeling, it has the potential to be used in a production. So, write what you feel in the moment. -Kris Hawkins

KRIS HAWKINS is an Emmy-winning music producer, award-winning educator, and author of The Working Musician’s Handbook for Professional Success (Rowman & Littlefield Publishers). For more information: krishawkinsmusic.com, info@krishawkinsmusic.com

In addition to that immersive sensory experience, music stores also provided meaningful communal interactions. Record stores and music shops were places where fans congregated, discussed, debated, hunted for new tunes and unearthed lost tracks together. They were places where passionate salespeople shared wisdom and set fans on a course to musical discovery.

However, as groundbreaking advancements in technology such as social media have emerged over the last few decades, the music industry has incurred losses (R.I.P., MTV News). And with the advent of arguably the most impactful technology in recent memory —digital streaming—physical music retailers and their accompanying music store culture have faded. 

This is not to say streaming hasn’t been a boon. The technology has been hugely important for the industry overall, improving global accessibility to music, making it infinitely easier for smaller artists to spread their songs and eliminating the majority of music piracy. And though these benefits have been significant, it is important to also be honest about some of streaming’s shortcomings (in this case through analogies!) so that we can make changes and continue improving the industry.

Here are three music store analogies to help improve the streaming experience for the benefit of all music fans.

End the Silence in the Digital Aisles

Today, navigating a streaming platform feels like stepping into a music store, albeit one with a significant twist—you can’t speak to anyone.

Just as people once roamed the shelves of a retailer, they now scroll through endless digital playlists and artist profiles. In the music store scenario, finding your next beloved album or artist often led to animated conversations and discussions, celebrations or debates. However, in the virtual aisles of streaming services, there is only silence as there is no way to communicate with one another within each respective app. 

It seems a simple tool, but Spotify, Apple, Tidal and other streaming services all lack chat functions. The dearth of this basic feature dulls the thrill of discovery, prevents users from freely exchanging their thoughts on music in real-time and overall creates a more isolated experience. In the analog era, a trip to the record store was a social event. It was a place where you could talk with fellow music enthusiasts, share your latest discoveries and maybe even win an argument. Today, those encounters seem like a distant memory.

Simple chat features can revive the sense of community that music stores fostered and encouraged.

Cross-Platform Functionality, Please

We’ve established that sharing or discussing music with others who use the same streaming service can be frustrating. Taking that step further, trying to share music with people who use a different streaming service sometimes feels impossible.

With several streaming platforms available —Apple, Spotify, Tidal, Amazon and a multitude of others—music fans can choose the service they like best based on a variety of factors. However, with each service relying on its own unique programming, even sending links to songs or artists via SMS or iMessage is futile, as these links lead to dead ends for people who use different streaming platforms. The digital music world has become a series of walled gardens, and the once seamless act of sharing music has been hindered by these high digital walls.

The solution? Resorting to sending screenshots (a throwback to the dark ages?) or YouTube video links to share songs. This process is the digital equivalent of finding an album in a music store, spotting your friend in another store across the road, and desperately crafting a handmade sign to press against the window, urging your friend to check out that album. 

Let’s tear down the barriers between music services and enable cross-platform functionality.

Allow Listeners to Provide Feedback to Our A.I. Guides

The decline of record store culture isn’t solely about the loss of interaction between friends and fellow enthusiasts. It’s also about the way we discover music and the role of A.I. 

In the heyday of vinyl and CDs, passionate store clerks would eagerly offer recommendations based on people’s taste, introducing them to new artists and genres they might never have explored otherwise. These experts provided a vital connection between the music and the listener, enhancing the overall experience.

Nowadays, streaming platforms utilize algorithms and artificial intelligence to curate playlists and make recommendations. While these algorithms have the advantage of vast libraries at their disposal, the personal touch is conspicuously absent. Algorithms often get stuck in feedback loops and listeners lack the ability to provide detailed feedback, which oftentimes leads to poor recommendations.

Empowering users with tools to prompt their discovery algorithms and provide real-time feedback on recommendations and insights into their musical taste (beyond just thumbs up or down) will create a more fulfilling experience.

In the age of digital music streaming, the sense of community, the thrill of discovery and the human touch that defined record store culture have faded. While the convenience and accessibility of streaming cannot be denied, we must recognize the profound impact it has had on our musical experience. 

It’s time to reimagine how we can reintroduce those elements of connection and discovery into our digital music landscape.

In addition to that immersive sensory experience, music stores also provided meaningful communal interactions. Record stores and music shops were places where fans congregated, discussed, debated, hunted for new tunes and unearthed lost tracks together. They were places where passionate salespeople shared wisdom and set fans on a course to musical discovery.

However, as groundbreaking advancements in technology such as social media have emerged over the last few decades, the music industry has incurred losses (R.I.P., MTV News). And with the advent of arguably the most impactful technology in recent memory —digital streaming—physical music retailers and their accompanying music store culture have faded. 

This is not to say streaming hasn’t been a boon. The technology has been hugely important for the industry overall, improving global accessibility to music, making it infinitely easier for smaller artists to spread their songs and eliminating the majority of music piracy. And though these benefits have been significant, it is important to also be honest about some of streaming’s shortcomings (in this case through analogies!) so that we can make changes and continue improving the industry.

Here are three music store analogies to help improve the streaming experience for the benefit of all music fans.

End the Silence in the Digital Aisles

Today, navigating a streaming platform feels like stepping into a music store, albeit one with a significant twist—you can’t speak to anyone.

Just as people once roamed the shelves of a retailer, they now scroll through endless digital playlists and artist profiles. In the music store scenario, finding your next beloved album or artist often led to animated conversations and discussions, celebrations or debates. However, in the virtual aisles of streaming services, there is only silence as there is no way to communicate with one another within each respective app. 

It seems a simple tool, but Spotify, Apple, Tidal and other streaming services all lack chat functions. The dearth of this basic feature dulls the thrill of discovery, prevents users from freely exchanging their thoughts on music in real-time and overall creates a more isolated experience. In the analog era, a trip to the record store was a social event. It was a place where you could talk with fellow music enthusiasts, share your latest discoveries and maybe even win an argument. Today, those encounters seem like a distant memory.

Simple chat features can revive the sense of community that music stores fostered and encouraged.

Cross-Platform Functionality, Please

We’ve established that sharing or discussing music with others who use the same streaming service can be frustrating. Taking that step further, trying to share music with people who use a different streaming service sometimes feels impossible.

With several streaming platforms available —Apple, Spotify, Tidal, Amazon and a multitude of others—music fans can choose the service they like best based on a variety of factors. However, with each service relying on its own unique programming, even sending links to songs or artists via SMS or iMessage is futile, as these links lead to dead ends for people who use different streaming platforms. The digital music world has become a series of walled gardens, and the once seamless act of sharing music has been hindered by these high digital walls.

The solution? Resorting to sending screenshots (a throwback to the dark ages?) or YouTube video links to share songs. This process is the digital equivalent of finding an album in a music store, spotting your friend in another store across the road, and desperately crafting a handmade sign to press against the window, urging your friend to check out that album. 

Let’s tear down the barriers between music services and enable cross-platform functionality.

Allow Listeners to Provide Feedback to Our A.I. Guides

The decline of record store culture isn’t solely about the loss of interaction between friends and fellow enthusiasts. It’s also about the way we discover music and the role of A.I. 

In the heyday of vinyl and CDs, passionate store clerks would eagerly offer recommendations based on people’s taste, introducing them to new artists and genres they might never have explored otherwise. These experts provided a vital connection between the music and the listener, enhancing the overall experience.

Nowadays, streaming platforms utilize algorithms and artificial intelligence to curate playlists and make recommendations. While these algorithms have the advantage of vast libraries at their disposal, the personal touch is conspicuously absent. Algorithms often get stuck in feedback loops and listeners lack the ability to provide detailed feedback, which oftentimes leads to poor recommendations.

Empowering users with tools to prompt their discovery algorithms and provide real-time feedback on recommendations and insights into their musical taste (beyond just thumbs up or down) will create a more fulfilling experience.

In the age of digital music streaming, the sense of community, the thrill of discovery and the human touch that defined record store culture have faded. While the convenience and accessibility of streaming cannot be denied, we must recognize the profound impact it has had on our musical experience. 

It’s time to reimagine how we can reintroduce those elements of connection and discovery into our digital music landscape.

That said, here’s a list of 21 suggestions that scratches the surface of what is possible when you mix human talent and creativity with artificial intelligence: 

1. Songwriting, Composition and Arrangement 

• Unlimited AI-generated ideas for original music compositions and melodies. 

• Assistance in creating complex musical arrangements. 

• Assistance in exploring new harmonies and chord progressions. 

• AI-generated ideas and suggestions for rhymes, lyrics, phrases, and song titles. 

2. Real-time Collaboration 

• Real-time AI-powered collaboration tools for remote songwriting. 

• Live, AI-powered collaborative sessions with fellow musicians. 

• AI generated musical ideas and suggestions to inspire collaborators. 

3. Instrument Recommendation 

• AI suggestions for adding new or different instruments to your music based on your style and preferences. 

4. Sheet Music Generation 

• AI transcription of music to scores, and songs to sheet music. 

5. Audio Fingerprinting and Copyright Infringement 

• AI-powered tools can identify unauthorized use of your music across all platforms. 

6. Royalty Tracking 

• Automating royalty calculations and distribution. 

7. Music Production 

• AI-automated mixing and mastering processes. 

• Intelligent audio enhancement. 

• Real-time audio processing for live performances. 

8. Remixing and Mashups 

• AI-assisted remixing of existing tracks. 

• Creative mashup suggestions using AI analysis. 

9. Music Video Creation 

• AI-assisted video editing and effects. 

• Automatic scene detection and synchronization. 

10. Performance Improvement 

• AI real-time performance feedback and coaching. 

• Virtual rehearsal accompaniment. 

11. Virtual Concerts and Events 

• AI-generated visual effects for live performances. 

• Virtual reality experiences for remote fans. 

12. Audio Sampling and Remixing 

• AI-generated audio samples and loops. 

• Automating the process of sample clearance. 

13. Adaptive Set lists 

• AI-assisted creation of dynamic set lists that suit your audience’s preferences, gender, age, and energy levels. 

14. Music Marketing 

• AI-generated ad copy and marketing content. 

• Social media post scheduling and optimization. 

• AI lists of venues and contacts. 

15. Market Analysis 

• Predicting trends and popular genres using AI analytics. 

• Identifying target audience preferences. 

• Analyzing streaming and download data to optimize marketing strategies. 

16. Fan Engagement 

• AI-driven chatbots for personalized interactions with fans. 

• Analyzing social media data to understand fan sentiment. 

• Identifying fan demographics for targeted promotions. 

17. Tour Planning 

• AI-compiled lists of where to play (whether it’s in town or cross country), route optimization, scheduling gigs and planning tours. 

18. A&R (Artists and Repertoire) 

• Identifying promising emerging artists through AI analysis. 

• Predicting potential hits based on trends, patterns, seasons, and timing. 

19. Contacts, Companies & Services 

• AI generated lists of artists, companies, venues, studios, services, etc. in any city, town, village, or country in the world. 

20. Vocal Coaching 

• AI-driven vocal analysis and feedback to improve singing technique. 

21. Music Education 

• AI-driven adaptive learning platforms catering to individual skill levels. 

Once again, this list only scratches the surface of what is possible when you mix human talent and creativity with artificial intelligence.