June 18, 2025 • 55 mins
The Real Rundown!In this powerhouse episode, Jamie Finster sits down with Mark Frieser, the visionary behind Sync Summit, the global nexus where music meets media. With decades of industry experience, Mark pulls back the curtain on the real machinery of sync licensing, music supervision, and the billion-dollar bridge between artists and opportunity.From the critical role of metadata to the game-changing power of relationships, Mark delivers a masterclass in navigating the sync world like a pro. You’ll hear how tools like DISCO and ContactOut can be your backstage pass to the decision-makers, and why professionalism and precision in your music submissions can make or break your shot.Whether you're a seasoned songwriter or a hungry new artist, this conversation is packed with insider knowledge, industry truths, and the kind of no-BS advice that could launch your next big placement. Mark doesn’t just talk about the industry — he helps shape it.If you’re ready to level up your sync game and turn your art into impact, this episode is your blueprint.Golden Nuggets!Mark Freezer is a key figure in music and media, founder of Sync Summit.Sync Summit connects musicians with decision-makers in the industry.Music supervision involves managing the musical direction of projects.Relationships are crucial in the music business for success.Organization and professionalism are essential for artists.Understanding metadata is vital for music submissions.Quality music, organization, and relationships are the three pillars of success.Artists must know their performance rights organization (PRO).MP3s are preferred for initial submissions due to metadata inclusion.There's no guarantee of success in sync licensing, but preparation is key. There are many things you can do to position yourself for success in the music industry.Using a system like Disco is essential for sharing your music effectively.Connecting with custom music houses and sync agencies is crucial for expanding your network.Your music must be good, and you need to ensure your metadata is correct.Being politely persuasive and treating industry professionals as human beings is important.Researching industry contacts can help you make meaningful connections.Contact Out is a valuable tool for finding email addresses of industry professionals.Attending events, whether online or in person, is vital for networking.The vision behind Sync Summit is to educate and connect people in the industry.Believe in yourself, do the work, and get your music out to the world.Sound Bites"We're agents, but we're not as angry or as mean.""Our business is built on three legs.""You need to have good metadata.""80% of my friends don't know about metadata.""I can't guarantee you shit.""You have to get your music out there.""Use a system like Disco for sharing music.""Your music's gotta be good. That's number one.""Research them, not in a creepy way.""Present yourself as an authentic person.""Keep the faith in yourself."
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:31):
Today's guest is a total force in the world of
music and media. He's the founder of Sink Summit, a
global event that brings together the best in music, film,
TV and tech to make magic happen. With decades of
experience in licensing, branding, and creative partnerships, he's help shape
how music connects to everything we see and feel. I'm
(00:54):
thrilled to welcome the one and only Mark Freezer.
Speaker 2 (00:58):
To the show.
Speaker 3 (01:01):
Welcome Mark to the show, and the floor is going
to be yours. But we've got a bunch of questions
for you today and special things that you want to talk.
Speaker 4 (01:10):
About real quickly.
Speaker 3 (01:12):
I will just say mutual friend of ours Tom Callahan
has been talking about.
Speaker 4 (01:17):
Mark for years and just everything that he.
Speaker 3 (01:20):
Does, what he excels at, what his talents are, his wisdom.
Speaker 4 (01:24):
He is huge in just music, sink, publish ology, everything.
Speaker 3 (01:30):
We're going to let you tell just everyday peeps what
you do and hopefully not hopefully, I expect that all
of the artists that listen also will learn some really
great golden nuggets today from you.
Speaker 5 (01:42):
Mark.
Speaker 4 (01:43):
Welcome to the show.
Speaker 5 (01:44):
Excellent, Well GOPI first and foremost, thank you so much
for having me on.
Speaker 6 (01:48):
This is really an honor.
Speaker 5 (01:50):
And it's a treat to share the virtual stage with
you here, and I'm looking forward to sharing a little
bit of what we do and also getting into some
conversation about how this business works.
Speaker 6 (02:04):
So thank you for having me here.
Speaker 4 (02:06):
I love that.
Speaker 3 (02:07):
Will you explain to people because we've got SINC Summit
and then we've got all the stuff that you've done
before that I don't know what you want to talk about.
Speaker 4 (02:15):
If you want to talk about your history, what.
Speaker 3 (02:18):
Moved you to get into all of this, describe a
little bit more than a little bit, but break it
down for everybody, not just the artists that are listening
and watching, but people that are just driving to work today.
And I know that your experience with all of this
has something to offer everyone on inspiration or being tenacious
(02:39):
and just keep on going for things, because this is
for things. This is not an easy business. I think
there's a lot of miss misconceptions about things.
Speaker 4 (02:47):
You know, we want to hear from.
Speaker 3 (02:48):
You, like what's the biggest mistake that artists make, or
that producers make, or people in general make. But keep
in mind, we've got a lot of people that we
want to keep listening today mark that my not know
about your business. So in laypersons terms, let's talk about
what you do to build a nice foundation to explain things,
and then we'll get into what's on the ticker on
(03:09):
the bottom and your membership and all that good stuff.
Speaker 4 (03:11):
So just in simple terms, what do you do?
Speaker 5 (03:14):
Okay? What I do, very simply is if you've see
music and a TV show, in a streaming show, in
a film, in an ad, if you see music or
a musician as part of a marketing campaign, we're the company.
Speaker 6 (03:31):
We're the people that make decisions and do the.
Speaker 5 (03:35):
Deals to put that music into that programming, that concert.
Speaker 6 (03:42):
That marketing simple is that because.
Speaker 5 (03:44):
Everybody is affected by music and music when it's combined
with something visual or something interactive like a video game
or a trailer or or a concert. I hate using
the word activation, but basically marketing at account at a concert,
there's always music as one of the most important elements.
So what we do is we help musicians to connect
(04:09):
to the other side, the side that uses their music,
the side that licenses their music, the side that asks
them to create music for our projects. That's the really
top top line thing of what we do. So inside
of all of that, there's a lot of details, as
you can imagine. So basically what we do as a
(04:32):
company is three major things. One thing that we have,
the one thing that we do that we're known for
is that we have a educational platform and networking platform
called sink Summit. The information about it is at the
link at the bottom of the screen sinksummit dot com.
Speaker 6 (04:52):
And we've been doing this for about ten years.
Speaker 5 (04:56):
And the mission that I've had with what we do
with sink Summit is to give anybody who creates music
or owns music, whether you're an artist, a producer, a
label executive, a publisher, or manager, whoever you are, give
(05:16):
you the resources and the tools you need and the
information that you need to do well in our industry.
Because when people look at music for media, they think, hey,
I could have my music in there, or hey, I
could be a music supervisor, which is the person who
manages the music for projects. But the reality is is
(05:41):
that this is a business that has different layers of competencies.
Creating music or programming music, or knowing that you have
good musical taste is only one part of it. The
other important things to consider are the fact that this
is a business. So it's based on agotiation, it's based
(06:01):
on paperwork, it's based on knowing who owns what, and
it's also based on connected music to the right people,
to the right decision makers. So there's elements of marketing,
there's elements of intellectual property and.
Speaker 6 (06:21):
Basically ownership, and.
Speaker 5 (06:24):
You need to know all of these things in order
to be successful in our business, because we won't use
music or we won't work with someone who creates music
unless we are able to.
Speaker 6 (06:37):
Do business with them and know who owns what.
Speaker 5 (06:41):
So what we try to do with sing Some It
is we try to teach people what these fundamentals are,
and we do that through courses that we have. We
do it through listening sessions and discussions with other decision
makers across the industry. And in addition to that, we
(07:03):
help people take this knowledge and make it really basically
to connect to decision makers. So our event help people
to meet music supervisors, to meet people who are brand
managers in charge of marketing, and brands who are in
charge of creative direction and agencies, the people who are
(07:24):
actually signing the chase, and by giving you the knowledge
that you need of how the industry works from a
business perspective and combining it with giving you access to
connecting to people in the industry.
Speaker 6 (07:39):
On a real basis.
Speaker 5 (07:42):
We hope that we give musicians and the people that
work with music an edge so that they have a
foundation that they can then use as a platform to
connect their music to the right people and be seen
as professionals.
Speaker 6 (08:02):
That's really important. So that's one thing we do. The
other two will take less time to explain.
Speaker 5 (08:07):
The other thing that we do is that we work
into what's called the sink agency. And what sink agencies
do is, you know, if you've seen a show like Entourage,
basically we're agents, but we're not as angry or as
mean as the character are, hopefully but basically where most
of us are nice people. But basically what we do
(08:28):
is we work with artists and labels and publishers as
their representative to the decision makers in the industry. So
what that means is that will, well, we'll sign an
agreement with an artist or with a label or a
publisher and will agree to represent their music to our industry,
and then we will promote that music and promote that.
Speaker 7 (08:52):
Artist to the decision makers in our industry, and if
those decision makers decide that this music is right for
their project and there's a potential deal, then we will
go back and we will talk to our.
Speaker 5 (09:06):
Clients, the artists or the labels of the publishers, tell
them what the deal is, and then we will do
the negotiations. We'll do the paperwork, we'll collect the money,
we'll take a percentage of that money, which is how
we work as agents, and then we send the remainder
of that money to our client. And that's what a
(09:28):
sink agent does. So that's another thing that I do.
Speaker 3 (09:31):
And then I want to inter interject. Whenever you get
a second, give me your next point. Then I want
to say something.
Speaker 5 (09:37):
Okay, So the next thing that I do is I
work as a music supervisor, and a music supervisor is
someone who's in charge of the musical direction, the paperwork,
the negotiations.
Speaker 6 (09:47):
Basically the musical.
Speaker 5 (09:48):
Director of a project line. And that project can be
an ad or it can be a film, or it
can be a TV show, or it can be a trailer.
Whatever it is, there is most the time a music
supervisor involved, either working with that production exclusively or working
with a variety of different productions. In addition to that,
(10:12):
as part of music supervision, I also work on thinking
around strategic and sonic branding and advertising, and this is
an area that I love to think about and love
to work in. I've won a CLEO in it, which
is in the advertising industry, you know, kind of like
a Grammy, So I'm pretty good at that. And what
(10:33):
I try to do across all of these lines is
to work with musicians and the people that own music,
to treat them fairly, to be upfront with them on
how the business works, to give them the tools that
they need to understand the business, and to do everything
that I can to help them to understand how they
(10:57):
can make connections and hopefully succeed and fixed on the music.
Speaker 6 (11:03):
Okay, that was a long explanation, Volbie.
Speaker 5 (11:05):
I'm sorry that I just wanted to get all that.
Speaker 3 (11:07):
Oh there's no sorry needed. My gosh, we appreciate you
explaining all of that. I just keep hearing you say business.
You keep saying business, and I think that a lot
of artists and a lot of people in the world,
because there's going to be people listening to this mark
that are exactly what you said.
Speaker 4 (11:23):
You hit it a little while ago like they're.
Speaker 3 (11:25):
Basically armchair producers, and I'm sure they think, hey, you
know that song should have been in that movie, or
this should have been they should have used this for
that campaign. And what I don't think people understand is
what they should because anybody driving down the road.
Speaker 4 (11:38):
We got a lot of truck drivers listening today.
Speaker 3 (11:41):
We've got a lot of really interesting people with very
eclectic jobs. Is when you say business, I automatically hear politics,
and when I.
Speaker 4 (11:51):
Hear politics, I hear I hear relationships. And it doesn't matter.
Speaker 3 (11:56):
Got golden peeps, what business that you are in, and
some of you need to hear this message and heed
my words.
Speaker 4 (12:02):
You have to remember just the beauty and the importance
of a relationship.
Speaker 3 (12:08):
I have never gotten anything in my life that people
know me for.
Speaker 4 (12:12):
I'm quasi famous.
Speaker 3 (12:14):
In a lane without some solid relationship that has been
built upon time, delivery and trust. And I'm hearing that
a lot of the things that you're teaching people at
your sink summit, I mean no offense, Mark, but I'm
sure a lot of it's common sense some of it.
Speaker 4 (12:30):
And what I mean by common.
Speaker 3 (12:32):
Sense is I can't tell you how many people that
I've talked to in your industry and your lane in
your space, who are like, it's all about the organization
and what we call the splits in the split sheet,
and even knowing what organization you're publishing is attached to.
Speaker 4 (12:48):
Are you a BMI, Are you an ASKAP? Are you
a c SAC?
Speaker 3 (12:52):
Like some people don't even know their affiliation. Some people
don't know the writers that are on the songs that
they're writing to or receiving or getting. Some producers that
give me stuff won't tell me who is on it.
We don't know the percentage of who gets what, and
this and that and this is something. Whatever business that
you're in, whatever job that you have, don't be afraid
(13:14):
when you can, well you shouldn't anyway to ask questions,
even if you seem annoying or nosy or pushy.
Speaker 4 (13:20):
In the long run, to cover your own.
Speaker 3 (13:23):
Ass, you need to ask questions so that you've got
these answers that what you were saying is like, there's
just so many people I talk to Mark, they don't
they don't know theirs from their head, they don't know
what's going on. They have no answers, and it's just
an unorganized mess. And a lot of artists think that,
Well I don't. I don't need to do I don't
(13:43):
do that. I just write this all. This is what
I do know. If you want to be an artist
these days and actually do anything of noteworthiness and make
some money, like, you have to be organized. Talk to
us about the importance of organization across the board, because again,
tons of people listening that aren't in our industry, what
I know, they understand and value being organized.
Speaker 4 (14:07):
Let's talk about that.
Speaker 5 (14:09):
Okay, well that's fair, and I think that being organized
and doing what I call the back office work is
really key.
Speaker 3 (14:15):
And I didn't mean some of the things that you're
think some it are like, I mean, it's some of
it is just like you should know this stuff and
you don't. Of course you're going to get all kinds
of amazing stuff. Don't take me wrong on that. I
don't mean to come across the wrong way.
Speaker 6 (14:28):
No, not at all, not at all.
Speaker 5 (14:30):
I didn't take it as being anything. But you know
a question. So okay, you know, at the end of
the day, our business is built on three It's like
a three legged stool. This is the way that I
think about it. One is the quality of your music.
The other is the professionalism of your data and information
(14:52):
and how you present yourself. So sort of I would
say like technically, I would call that more technical. And
then the thing is how do you interact with people.
You have to have all three of those at the
right level in order to position yourself for success. Now,
in terms of the quality of the music, I can't
(15:12):
speak to that. You have to do your work to
mix and master and be the best artist that you
can be. If you're an artist, and if you're a
publisher or a label, you should know exactly what you
need to do in terms of you're an art So
I'm not going to get into that part. But where
I can be helpful is to say, okay, so what
(15:34):
does your metadata look like? First of all?
Speaker 6 (15:36):
And what I mean by that when I say metadata is.
Speaker 5 (15:39):
That metadata means what's the data around your music. You
need to have good metadata. You need to have good
information so that when you send it to someone like me,
I'm able to know the basics about your music. And
that means not just the type, but who are the writers,
(16:03):
who are the publishers, whether you're self published or you
have a company like BMG or universal publishing you it
doesn't matter. I need to know who the publishers are.
Then I need to know where your royalties go. And
when I say where your royalties go, I mean who's
your performance rights organization, your PRO. In the US, that's
(16:25):
the big three are EMI, ASKAF and CSAK. There's also
There's Those are two others that have a small position
in the industry, but those are the big three. If
you're outside of the US, you have people like Soapan
in Canada, you have people like you have organizations like
jazz Rack in Japan, et cetera, et cetera. Every artist
(16:48):
is associated with a PRO, usually from their own country.
So we need to know who that is. Because we
don't know who that is, we can't pay royalties.
Speaker 6 (16:57):
Very important. Then we need to know your contact information.
Speaker 5 (17:03):
And you'd be surprised how much I get music from
people and there's no contact information, there's no there's no email.
Speaker 4 (17:12):
Yeah, how do you get the stuff? Then? Is it
just coming to mail or what's happening?
Speaker 6 (17:16):
No? No, No, What happens sometimes is that people will
send it.
Speaker 5 (17:19):
To us and then we'll get a link or we'll
get it. We'll get it sent to us as an
MP three, which is totally unprofessional, But we'll get it
sent to us as a link and then take that
music and we won't immediately listen to it.
Speaker 6 (17:35):
We'll probably take that music, put it in a.
Speaker 5 (17:38):
File either on the cloud or on our on our
on our computer, and then we may reference it six
months later. So when we reference it, we're not going
to be digging through all the emails trying to play detective.
We might even have deleted those emails. I'm just telling
you how it really works. So we need to have
inside of the MP three's metadata your contact information.
Speaker 6 (18:01):
That's really important.
Speaker 5 (18:04):
Another thing is we need to know from you a
little bit about what the music sounds like. And why
I'm saying that is that when we search for music,
whether it's on the cloud or whether it's.
Speaker 6 (18:16):
On our computer, we're going to look for it.
Speaker 5 (18:20):
Based on keywords, So things like what is the BPM?
We need to know that. We need to know what
is the genre of the music, and you can basically
figure out what your genre is. Also, we need to
have descriptive tags. Is it an instrumental metal? Is it
a female singer or male singer? Are there any subject genres?
(18:46):
What's the tempo of the music, Are there any instruments
that we should know about, who does it sound like?
And most important, what does it feel like? Because a
lot of our searches are based on feeling. What we're
trying to get is we're trying to get music that's
going to help us tell a story better or it's
(19:06):
going to help us to sell a product better on
the ad and brand side, and we're looking for certain
kinds of.
Speaker 6 (19:14):
Things from a lyrical point of view, or from.
Speaker 5 (19:17):
A sound point of view, or a structural point of view.
So that needs to be in your metadata, and we
have on our website. You can look it up on
the block portion. There's an absolutely free metadata style guide
that you can download and you'll get all of this
information and so much more, and you'll learn how to
do this. You can do it for free. If you
(19:40):
won't take the effort to use that guide and pull
together your metadata and make it professional, that's super important.
And I'll tell you why it's super important, because I'm
telling you this and this is real, real life. Eighty
(20:02):
percent of my friends that I talked to about metadata
who are music supervisors and decision makers. If we open
up at MP three, and we don't see metadata inside
of it that tells us about it and how we
can pay someone and how to get in touch with them.
A lot of the time we don't even listen to
the music because we look at this in real life.
This is it. Excuse my language, this is a shit show.
Speaker 6 (20:22):
I don't want to get involved in and move on.
Speaker 5 (20:25):
To the next And that song from a stylistic and
feeling point of view, could be the perfect song. But
if we feel like we can't clear it or we
can't deal with you, we're.
Speaker 6 (20:37):
Going to move on to the next thing because we
have to. Because it's a business. And that goes back
to what we said at.
Speaker 5 (20:44):
The beginning here, it's a business, and as a business,
we have to balance the creative with the business needs.
Speaker 4 (20:53):
I was just muting my mic to clear my throat
because you were talking.
Speaker 6 (20:56):
All not no no worries, no worries.
Speaker 3 (21:00):
I got you all that, and then I'm listening to
all this and then we'll talk about this later. But
I'm panicking that I didn't submit my stuff to you
properly what I think that I did, because how I
gave it to you on that website has really good
metadata oh no, I'm God.
Speaker 6 (21:15):
There's a couple of little things that I would tweak.
Speaker 5 (21:17):
But it's good, good, Well, you've done a good job.
Speaker 3 (21:22):
God.
Speaker 4 (21:22):
No, I was looking for praise.
Speaker 3 (21:23):
I just always want to because I do know about
relationships and organization.
Speaker 4 (21:28):
I always want to make sure that I do things correctly.
Speaker 3 (21:31):
And you said something earlier about which was I've I've
submitted to people before and they've asked for MP threes
and all my stuff is waves, So, uh, why is
MP three bad that you're I know why it is,
but I don't know why they're asking for MP threes.
Speaker 4 (21:47):
But like explain that.
Speaker 5 (21:49):
There's two reasons, and you really should send out your
music to us, not to me, because you and I
are you know, we got our own thing going on.
But if you're sending it out to somebody for the
first time, you have got to send out MP three's.
And one of the reasons why is because first of all,
(22:10):
if you send us waves, waves do not include metadata.
So if you send me a wave, it doesn't have
metadata in metadata MP three. So that's one thing. Now,
we have another type of file called an AIFF file,
which is a high resolution file. Those files have metadata,
(22:30):
but Okay, give you another reason or two reasons why
you shouldn't send us wave files. The first thing is
wave file. The big wave files are going to be
somewhere between thirty and one hundred megabytes per file.
Speaker 6 (22:46):
That adds up.
Speaker 5 (22:47):
It adds up in terms of download time, and also
when we're sharing them, whether it's with the post production
editors or whether it's with a showrunner, a director, or.
Speaker 6 (22:57):
Somebody at the brand, we're not I don't.
Speaker 5 (23:00):
Want to send them like a one gig link or
one gig file.
Speaker 6 (23:06):
We don't need to do that at this time.
Speaker 5 (23:09):
What we need to do is we need to be
able to first of all, see your metadata, which an
MP three allows, and second be able to share the
music quickly, because we're not going to be putting your
music into the production at this point.
Speaker 6 (23:26):
We're going to be a value the beating.
Speaker 5 (23:28):
For the first thing, when you send it to us
and if it resonates, what's going to happen As a
music supervisor, I'm going to go, Wow, this is this
is really good. Let me put it in a playlist
that I'm going to put together in about twenty songs,
and then what will happen after that is that I'll
put together this playlist, and then the next step is
going to be I'm going to talk to my other
(23:50):
decision makers on the team. I'm going to talk to
the editor. I'm going to talk to the creative director.
I'm using an ad as an example. I'm going to
talk to maybe the brand person. I'm going to talk
to the top copywriter, and I'm going to say, Okay, So,
based on everything that we've talked about and what I've seen,
these are the choices that we have to look at it.
You know, these are the choices that work in terms
(24:11):
of style, in terms of budget, in terms of feeling,
and here's why. And being able to put together that
list and have that list as something that for twenty
songs is going to be two hundred megabytes instead of
two gigabytes as a download, well, that saves everybody time,
(24:34):
It creates efficiencies that we need, and it reduces friction,
and that's really important to us when we're in the
production art With that said, if we really like a
song and we go to the next step and we say, okay,
artists or okay, label, we want to license this song.
This is the deal that we want to do. We'll
send you out a not an agreement yet, but we'll
(24:55):
send you out a turn sheet which will get give
you the basics of what the deal is. You signed that,
then that's the time that you send us what we
call the lossless file, the wave file, the ai f
F file, because at that point we're going to need
the full fidelity of the sound, and the MP threes
(25:18):
aren't going to give us a full fidelity, so we
need to have the wave file then, not before. So
you know, these little things you don't think about, but
for us, you know, when we look at how we
do business and the flow of it, there's an order
of things that helps us reduce the time that we
(25:39):
spend working on taking a piece of music from discovery
to usage. And that's why MP three's are very important
to us.
Speaker 3 (25:51):
Okay, you'd said earlier, though you said earlier, don't send
an MP three, But that's because of the order that
we were talking about.
Speaker 6 (25:59):
No, no, no, send an MP three in the beginning.
Speaker 4 (26:04):
In the beginning, yes, got it.
Speaker 6 (26:07):
No, you only send a wave file.
Speaker 5 (26:08):
Don't send a wave file until you're at the point
that you've got a deal or it looks like you
have a deal.
Speaker 3 (26:16):
So are these details some of the things, like what
are some because I want to title this podcast like
everything you need to know to get your songs on
TV and in the movies?
Speaker 5 (26:27):
Well, what are some you need to know to position yourself.
I cannot guarantee that anybody anything in any media.
Speaker 4 (26:34):
A title is a title mark. We got to get
people to listen.
Speaker 5 (26:38):
Oh, I'm just saying like there are way too many
hucksters that are out there saying, oh this is happening
with sin Sync's blowing up, Synk is amazing, sink is
going to get you paid. Maybe, Okay, somebody who actually
works in it. Maybe I can't guarantee you show.
Speaker 4 (26:54):
Nothing's guaranteed anybody guarantee.
Speaker 5 (26:56):
Out there saying that it is. But I can give
you the building blocks. I can give you the information
that you need and the connections so that you can
present yourself in the right way and you can make
the connections that can lead to success in this business.
All right, So anyway, I just always like to say
(27:17):
that because it's important. There are a lot of things
goo that you can do that can position yourself so
that over time you will be successful in this industry.
And metadata is part of that. The other thing is
you just have to get your music out there. You
(27:37):
have to get your music out there. You have to
get it out in the right way. I would say,
you know, you use a system like disco which is
our industry standard for sharing music, and that's Discodisco dot AC.
If anybody's never heard it, you should check it out,
and it's what we use to share music. It has
(27:58):
a lot of interesting tools that you can that can
help you. But basically what you need to do is
you need to think about how do you market your
music to music supervisors and decision makers. How do you
get people like myself and other sink agents or custom
music houses to work with you to connect your music
to the industry. And sink agents and custom music houses
(28:23):
are not going to do your metadata. You've got to
do that yourself. But what they can do is they
can help you to grow your network. You can grow
your network organically, and you should, but at the same time,
you should work with people that are already trusted resources
in the industry.
Speaker 8 (28:39):
So connecting with custom music houses, connecting with sink agencies
is very important for everybody that works in this industry
because it will.
Speaker 5 (28:50):
Help you to expand the potential chances for your music
to be heard by decision makers and to be used
by decision makers, and all of that will help you
over time to be successful in this industry because you know, honestly,
the way that it works is that we have a
lot more supply than demand, right, we just do in sync.
(29:13):
There's a lot more there's a lot of people trying
to get their music into projects. Who are the people
that win? Who are the people that really succeed? Okay, well,
first of all, your music's got to be good. Okay,
that's number one. Number Two, you've got to make sure
you've got all of this data stuff that I talked
about correct. Number Three, you've got to be politely persuasive
(29:40):
to the people that you meet and be kind to
them and treat them like human beings. Research them, not
in a creepy way, but research them, research their social media. Well, no,
it's important because it's like sometimes feel like people get
a little creepy when they start getting personal. You know,
(30:02):
all of us do. So I'm just saying, check out
what they do professionally, you know, check out check out
what they do. Maybe you know, not say oh wow,
I was just hiking five blocks away from your place.
Maybe you don't want to go that far, but you know,
get an idea of who they are. Check them out
on social media. Check out their IMDb. If they work
(30:23):
in advertising and branding. They don't have an IMDb, but
do a Google search. Check them out on LinkedIn, and
just try to make contact. Research them, see if they
have a website, See if.
Speaker 6 (30:38):
They have an email address that you can find.
Speaker 5 (30:40):
And I'm going to.
Speaker 6 (30:40):
Give all of you right now a big.
Speaker 5 (30:43):
Resource that you can check out that will really help you.
There is something that I use that I tell all
of my students about called contact out and it's contactout
dot com c O N t AC t out dot com.
Contactout dot com when you combine it with LinkedIn, allows
(31:05):
you to get emails of people from their LinkedIn accounts,
even if you're not connected to them.
Speaker 3 (31:12):
Even if you're not a LinkedIn premium at fifty dollars
a month.
Speaker 5 (31:15):
Yep, yeah, look, contact out costs one hundred dollars a month,
so I will say that, but.
Speaker 6 (31:21):
It's okay, one hundred dollars that I spend.
Speaker 5 (31:23):
Okay, if I can get in touch with just one person, yeah,
I want to connect with who's important, and I get
their email addressed through it, then I win. Now, I'm
not going to tell you how to use contact out
because that's something we do in our courses, but you
can figure it out for yourself.
Speaker 6 (31:43):
If you don't want to take our courses, that's fine,
you can still go ahead and use it.
Speaker 5 (31:48):
But you can find out information on the internet about
almost anyone, and not just their contact information, but who
they are, what's important to that, what projects do they
work on.
Speaker 6 (32:01):
And the reason I'm giving you.
Speaker 5 (32:02):
Like this whole big monologue about this is that once
you get this information, you've got to present your You've
got to present yourself as an authentic person who knows
about what they do and who they are and treat
them like human beings. Because I feel like I know
this actually, Goldie, is that a lot of the time
(32:23):
people see us as inboxes and not as human beings,
and they're just like sending us the exact same email
every single time, not knowing who we are, what we
work on, and as a result, you turn a lot
of people off into doing that. You know, if you
do a little bit of research, a little bit of thought,
like hey, oh wow, so this guy he was a
(32:47):
chief creative officer at the agency AKQA, but before that
he was actually a musician and he was working as
a musician who was doing gigs in his native city
of Rio Visionaro, and he went from that to creating
(33:09):
music and then he joined the firm.
Speaker 6 (33:11):
You can find out all of this.
Speaker 5 (33:12):
About the person I'm bringing up as an example within
five minutes, and then what do you do with that information? Well,
instead of throwing the same email that you throw at
fifty other people, you can say, Hey, I'm not going
to use the name of the person that I brought
up in my mind, but like, hey, I'll make up
a name. Hey, Raphael, it's so good to have the
(33:34):
chance to connect with you, and I really appreciate the
work that you've done from the beginning of your career
until now.
Speaker 6 (33:42):
As the chief creative officer at AKQUA.
Speaker 5 (33:45):
In hopes of helping you, I'd like to introduce myself.
My name is Blah Blah blah. I do this. I'm
an artist.
Speaker 6 (33:53):
Here's a link to my music if you have the
time to listen.
Speaker 5 (33:56):
I'd love to have the chance to help you out
in any of your projects if given the opportunity.
Speaker 6 (34:02):
Thank you, so much for your time, and I hope
you have a great day, rest of the week, weekend,
whatever it is.
Speaker 5 (34:06):
That's it. How much better is it to do that
than to just send an email that says, Hi, I'm
an artist, I'm in music.
Speaker 6 (34:14):
Here's a link to my music. I would love my
music to be in your projects.
Speaker 5 (34:19):
Thank you. You know what.
Speaker 6 (34:21):
It's just like, it's like Goldie.
Speaker 5 (34:23):
I mean, it's like, look.
Speaker 4 (34:24):
I get it. Mark.
Speaker 5 (34:25):
One of the first books that was given to me
in my career was Dale Carnegie's Had to Win Friends.
Speaker 4 (34:31):
O Friends and Influence people. Yes, And my.
Speaker 5 (34:34):
Boss was like, Mark, you need I'm giving you this book.
And it was like he gave me like some nineteen
fifties edition literally and it was like it was the
cool edition of it. But he was like, Mark, you
need to read this one here because it will help
you in the way that you speak to people and
how you orient yourself. And I just take the approach
(34:55):
that Dale Carnegie did, which is know who it is
that you're getting in touch with and what's important to them,
and then lead off of that, because if you tell
me all about what your needs are when you.
Speaker 6 (35:09):
Start off, you're gonna my eyes are gonna do a blasting.
Speaker 5 (35:12):
But if you talk to.
Speaker 6 (35:13):
Me about me, I'm going to be lured in.
Speaker 5 (35:17):
And then once you've got my attention, then you can go, oh,
by the way, this is who I am and this
is what I'm about. And then I'll go, Okay, person
who gave me a compliment, click, I'm going to check
you out. And that's one of the things that you
have to do. The other thing you have to do
is you have to go out. You have to go
out to events, whether they're online or in person. You
(35:39):
have to get yourself known and you have to get
to you know who people are.
Speaker 4 (35:44):
And let's talk about the Sink Summit. Wouldn't that be
a good place for people?
Speaker 5 (35:49):
Yeah? Absolutely, Bildy. I mean so like one of the
things that I try to do when I created the
Sink Summit, and I haven't gotten into the backstory or
anything because I wanted to talk about now and what's
applicable to people. But basically, I came from a venture
capital firm twelve years ago. I come from like a technology,
(36:11):
technology and entertainment background. And you can look up my
LinkedIn if you want to see the history. It's pretty impressive.
But anyway, moving on, I was working with a venture
capital firm helping to manage the marketing for a variety
of the companies that they were investigate, And after doing
(36:35):
that for a little over two years, I thought, you know,
I want to do something different. I want to go
back into music because I've always gone between, Like music's
always been a passion for me. I'm a musician and
a singer. And you know, I've got a lot of
friends who are musicians. Some of them are very famous,
some of them aren't. But the one common denominator that
(36:57):
I found with my friends that they would always bitch
to me about was mark I'm not making money from
that scene.
Speaker 6 (37:06):
I'm not making money from that ringtop.
Speaker 5 (37:10):
I'm not making money from that because I signed my
rights away to my label, Slash publisher, Slash whatever. And
then that was for famous artists and for artists that
weren't famous, they were stuck in this new paradigm of
an industry where they were like, how do I get anything?
(37:30):
Like streaming services don't pay, people are pirrating music. It's
just a mess, Like what can I do to make money?
And I thought to myself, well, I want to help
my friends to make money, and you know, make some money.
Speaker 4 (37:44):
Myself, you know.
Speaker 5 (37:47):
And my first thought was, okay, so where's the money.
And then a friend of mine who's been a friend
of mine for a long time, and I will mention
his name, Matthew Knowles. He's been a friend of mine
for like twenty three years. He and I will talk
to each other maybe one months every one to three months.
Speaker 6 (38:08):
And for those of you they don't know who Matthew is.
Speaker 5 (38:10):
He's Beyonce and Solange's dad and was Destiny's child's manager.
And before that, he was the number one salesperson of
the Phillips of medical imaging equipment. So you know, he's
not just like a dad manager. He actually is very smart.
And he and I had this conversation, i want to say,
(38:31):
in two thousand and six or two thousand and seven.
I'm like, Matthew, what's going on. He's like, well, let
me tell you something. I've got something really cool going on. Mark.
Speaker 6 (38:40):
We've got this deal that we're doing with Loreal and
Beyonce's going to be.
Speaker 9 (38:47):
In the commercials and Solange is going to be in
the commercials. And I was like, wow, this could be
a really nice payday and He's like, Mark, No, you
don't get it. It's sure, we're going to make money.
Speaker 5 (38:57):
From the commercial, but the real payday here is that
they're going to be using their music in the background,
which is which is a promotion for the music. But
we're going to be putting out their albums as the market,
as the advertising campaign goes worldwide. So because of that,
(39:21):
we've taken Sony's budget, which was I don't know, thirty million,
twenty million, whatever it was, and elevated it to a
budget beyond one billion dollars worldwide to market the artists
and their tours and their albums that are going on
all in the same timeframe. I was just like, oh
(39:41):
my god, this is the future. This is the future.
Speaker 6 (39:44):
Like I said to it. I said to it like
this is the future.
Speaker 5 (39:47):
And it was in the back of my mind while
I was at the PC and I thought, Okay, so
I'm going to leave this like crazy world here. I
want to go and do something where I can help
to realize this position for artists where they can say, hey,
I'm gonna get my music in a commercial, I'm gonna
get my music aligned with a brand.
Speaker 6 (40:05):
I'm gonna get my music.
Speaker 5 (40:06):
In a film or a TV show and by doing that, yeah,
I'm gonna make money on the sing or I'm gonna
make money on creating the music, but I'm also gonna
get my music promoted because in this world, there's very
few ways to get your music out to a massive
market in the way that a commercial can or a
(40:27):
way that a film can. And that was the vision
that made me start this business. That was why I
started this and what I wanted to do originally is
I wanted to be a sink agent. I didn't know it,
but I wanted to be a sink agent. So I
started a sink agency. I started working with people and
(40:47):
then I thought, hey, why don't we do a little
get together and get some people around the table to
talk about where the industry's going. And that was where
Sink Summit began. But then I saw a need for
people to be educated as well as network. So now
we're back at sing Semit. But I wanted to give
you that little story because I think it's important for
people to understand where my thought process was in creating sings.
Speaker 4 (41:13):
What is the next Sink Semmit?
Speaker 5 (41:15):
Well, going on, the next advertising one is in New
York on October six and seventh, and we're doing it
in during the same week as Advertising Week, so there's
like thirty five thousand advertising people in New York that
week going to the bigger event. But we're doing our
(41:36):
event on the sixth and the seventh of October. And
then we have our Los Angeles event, which is I
would say as opposed to New York, which is more
brand and advertising centric. Our Los Angeles event is taking
place on February fourth, during Grammy Ray and that event
brings together everybody from the industry, all the music supervisors,
(41:59):
all the all the artists, all the label people, everybody
who works in the industry to get them together the networks.
Speaker 6 (42:05):
So those are our two events that are coming up.
When is.
Speaker 4 (42:10):
LA When's the LA one LA.
Speaker 6 (42:13):
Is on February fourth, And then.
Speaker 5 (42:20):
We also have classes that are coming up. We have
one class beginning at the end of June that's about
that's oriented solely towards brands and advertising, and I teach
that with a guy named Joshua Rabinowitz. Josh used to
run the music department at Great Advertising, and before that
(42:42):
he ran the music department at Young and Rubert Camp,
So he really knows what he's doing.
Speaker 3 (42:47):
This is just so interesting and I'm even thinking about coming.
Speaker 4 (42:50):
That's amazing, So keep going.
Speaker 5 (42:51):
We should definitely come, especially the AD one and No,
they're both great. I'm just very partial to the AD
one because I do work in ads. But we do
a lot more than just the sink summits. We also
do online listening sessions where we will feature a music
supervisor or another decision maker alongside me and we'll listen
to people's music online and then we'll give feedback on it.
(43:14):
We'll share live briefs, and we'll give you're a video
archive of the listening session at the end. So that's
another thing we do. The course, which is where I
left off. We have the Advertising and Brands Course, which
is nine intentsive weeks of everything about how the advertising
industry works with music, which is it's pretty complicated, to
be honest, but Josh and I we know what we're
(43:36):
talking about, and we do a great and it's a
fun course and you'll come out of it knowing how
to work with the ad industry, which is honestly, very
different than working with the rest of the rest of media.
And then we have another course, which is our SYNC
course and that begins in July, and that course teaches
(43:58):
you about in a more how all of the areas
of the industry work. And it includes listening sessions, so
there's opportunities to connect with people, and there's opportunities to
learn the basic building blocks of what we've been talking
about today.
Speaker 6 (44:14):
The third thing is we do.
Speaker 5 (44:16):
This membership where basically you get all of this stuff
for an entire year, and you get a monthly thirty
minute consult with me so that we can go.
Speaker 6 (44:27):
Through everything that you want to talk about.
Speaker 5 (44:30):
In addition to that, I give you my I give
you my mobile number and my.
Speaker 6 (44:35):
And please don't abuse it, but I give you my.
Speaker 5 (44:38):
Mobile number, and I give you my email address if
you have any questions or anything that you want to
talk about or.
Speaker 6 (44:45):
Anything that comes up.
Speaker 5 (44:46):
And an example I can give you is like one
of one of my students, he was sent a he
was sent an agreement, which which I looked at, is
like somebody's you know, not set and you this in
in good faith, but you know he sent me agreements
like Mark, what do you think of the terms of this?
(45:07):
And I was like, well, they're not really doing this
in good faith. You should go back to them and
asking for this. So I'll do little things like that
on an ad hoc basis is part of what we
do in the membership. So basically, I'm kind of like
your I'm kind of like your your concierge taking you
through a year of this industry and helping you to
know who are the places, who are the people and
(45:29):
the places that you should go to and helping you
to you know, present yourself in the best place. So
that's what we do.
Speaker 4 (45:39):
This has just been amazing.
Speaker 3 (45:40):
I was only expecting a half an hour, so I
appreciate you giving us so much time in your day
and just.
Speaker 4 (45:46):
Education and knowledge. Happy, Yeah, this is this is great.
Speaker 3 (45:51):
A lot of people will find a ton of value
in this, but we want to drive it home that
you want to check out this membership that's at the
ticker at the bottom.
Speaker 4 (46:00):
It's going to answer a lot of questions for you.
Speaker 3 (46:02):
It's going to give you a lot of resources, it's
going to help you with your education, and in a
non creepy way, you get access to Mark.
Speaker 5 (46:09):
And what I really hope that you guys take advantage
of some of the things that we're doing. Even if
you don't want to sign up for any of our stuff,
which I hope you do. Our website has a lot
of free information that's really good for you to know now.
So you can't afford it or you don't want to
pay for it, then we still have some stuff that
(46:29):
can help you.
Speaker 4 (46:30):
And I don't think it's people don't want to pay
for it.
Speaker 3 (46:32):
I think these days we just have to prioritize what
we're spending our money on. Like when you were telling
me about you know, a certain platform, and you mentioned
it during the pod, It's like I said, I'm with
this one just because sometimes we get subbed out on
subscriptions and there's just so many, so you just have
to figure out, you know what, maybe there's some lattes
(46:54):
or some drinks or treats that I can give up
or cut out or change or swap with the valuable
knowledge that you have to offer with this. I was
looking through at the prices for the actual sink summit.
Speaker 4 (47:07):
I'll to check that out. We'll talk about that off air. Also,
if you had to.
Speaker 3 (47:10):
Give people just I've got a couple of friends that
are really really trying their asses off in this industry.
What's just some closing notes and just some golden nuggets,
some advice that you've learned with all of your time
in this business, just some closing thought that can be
encouraging and help people.
Speaker 10 (47:28):
Well, you know, I think the thing that you have
to do is just believe in yourself at the end
of the day, because a lot of people are going
to tell you that, oh, I don't like I don't
like this music, or I don't like your voice, or
I don't like this or that, or we've got so
much of this.
Speaker 5 (47:47):
Like honestly, the heck with all of that, I'm not
using the expltive I would use because you know, at
the end of the day, I'll give you my own experiences.
I had one of my best friends as a music supervisor,
somebody who I respect great greatly go to me when
I brought them to see an artist and a songwriter
(48:09):
that I really truly believe in, somebody who actually like
has a lot of talent and has had a lot
of success in production. And when I brought this person
to see them play live, they were like, you know, Mark,
I mean, he's good, but we just got so much
(48:29):
stuff like this. I mean, it's just like all over
the place, and I was just like, initially I was
kind of cressfall and I was like, no, you know,
that's a horrible thing for you to say. I mean, God,
there's got to be a place for this guy's stuff.
So I didn't give up, and it took me ten years.
But but yeah, for this particular artist, it took me
(48:50):
ten years.
Speaker 6 (48:52):
But when the music did hit, it was a seven
figure deal.
Speaker 5 (48:59):
Yes, So keep the faith.
Speaker 6 (49:03):
That's the most important thing I'm going to tell you.
Speaker 5 (49:05):
Keep the faith in yourself. And beyond that, just do
the work or you know, just just do the work.
And I'm talking about doing the creative work, of course.
But you're in a great place in this world right
now because ten years ago, twelve years ago, there was
no information out there and really no tools to help
(49:25):
you to connect to people and to learn about how
this industry works. You know, do the work. Find people
to help you, whether it's me, whether it's somebody else,
whether it's a sink agent, that doesn't matter, and go
out there and get your music out to the world.
Speaker 6 (49:41):
Don't be afraid to make.
Speaker 5 (49:42):
Connections, don't you know, take the time to figure out
where they're online or in person. Events Mine or others,
and just get yourself out there. So those are the
three things, you know, believe in yourself, do the homework,
and get yourself out there.
Speaker 4 (49:58):
Absolutely the nuggets.
Speaker 3 (50:00):
I want to thank everybody for almost an hour of
your time today gold Is Closets, Episode two fifty what
is it two.
Speaker 4 (50:07):
Fifty seven already? Wow, we're cruising and that's really great. Years.
That's a lot of years of podcasting. Mark freezer, everybody.
Speaker 3 (50:14):
That's how you say it, right, I've heard it, yes,
raise it yeah.
Speaker 4 (50:18):
Like a freezer. I've heard it said differently online. So
I was going to make sure.
Speaker 6 (50:21):
People people mess up the name.
Speaker 5 (50:25):
It's a name that you know, people people pronounce correctly
if they're from the Netherlands, Austria, Germany. It's one of
those things. It's a Northern European name, so you know,
I'm proud of it, but it's uh, it said anything
from Fraser to Fraser the freezer, the freezer, A freezer
is the correct name.
Speaker 3 (50:45):
Thank you, we'll take it. Thank you so much for
your time. We're going to end this one and close
and we actually do wave like that and we clap.
But Dan and I always says stay safe out there.
But be free and always stay golden.
Speaker 5 (50:56):
And then we clap, Thank you everybody.
Speaker 3 (51:05):
You've got. What's up everyone, It's Goldie Impact Wrestling, TLC's
Cheap Skates, Ted Nugent's running wild from him somewhere in
the woods.
Speaker 4 (51:18):
And maybe you've seen our band, Goldilocks Band.
Speaker 3 (51:20):
We're out there, we're on tour, but now we're connecting
on cameo. So I want to tell you that I
am here to be your humble servant. And that's whatever
you need said for you, for a friend, a shout out,
a golden shout out. You name it here and on
it now, just reminding you keep it classy, keep it cool,
and keep it above the belt.
Speaker 4 (51:39):
But I want to offer you something a little bit,
a little bit different.
Speaker 3 (51:42):
Just remember, if I'm not on the road and I've
got access to these next beauties, we can always have.
You want to make this the most amazing experience for
you ever because you deserve it, your friends deserve it,
(52:03):
your loved ones deserve it.
Speaker 4 (52:05):
And just remember, I can sing you a few lines
of a song.
Speaker 11 (52:08):
It can be from from anywhere like it can be
from songay, or it could be.
Speaker 12 (52:21):
Fun well, it could even be honor highway way.
Speaker 13 (52:36):
It can need to be com there. Oh and keep
in mind, not all requests are the same. Maybe your
motivation comes with a harder edge. Maybe you need a
more jagged little pill. There's nothing that I love more
than playing the heel. So if you need your message
delivered with more uh oh, what's the word I'm looking
for intention, please specify it.
Speaker 4 (52:59):
I can't wait to connect with on cameil. Thanks so
much for being here.
Speaker 2 (53:02):
Stay Golden
Speaker 5 (55:00):
M.
Today's guest is a total force in the world of
music and media. He's the founder of Sink Summit, a
global event that brings together the best in music, film,
TV and tech to make magic happen. With decades of
experience in licensing, branding, and creative partnerships, he's help shape
how music connects to everything we see and feel. I'm
(00:54):
thrilled to welcome the one and only Mark Freezer.
Speaker 2 (00:58):
To the show.
Speaker 3 (01:01):
Welcome Mark to the show, and the floor is going
to be yours. But we've got a bunch of questions
for you today and special things that you want to talk.
Speaker 4 (01:10):
About real quickly.
Speaker 3 (01:12):
I will just say mutual friend of ours Tom Callahan
has been talking about.
Speaker 4 (01:17):
Mark for years and just everything that he.
Speaker 3 (01:20):
Does, what he excels at, what his talents are, his wisdom.
Speaker 4 (01:24):
He is huge in just music, sink, publish ology, everything.
Speaker 3 (01:30):
We're going to let you tell just everyday peeps what
you do and hopefully not hopefully, I expect that all
of the artists that listen also will learn some really
great golden nuggets today from you.
Speaker 5 (01:42):
Mark.
Speaker 4 (01:43):
Welcome to the show.
Speaker 5 (01:44):
Excellent, Well GOPI first and foremost, thank you so much
for having me on.
Speaker 6 (01:48):
This is really an honor.
Speaker 5 (01:50):
And it's a treat to share the virtual stage with
you here, and I'm looking forward to sharing a little
bit of what we do and also getting into some
conversation about how this business works.
Speaker 6 (02:04):
So thank you for having me here.
Speaker 4 (02:06):
I love that.
Speaker 3 (02:07):
Will you explain to people because we've got SINC Summit
and then we've got all the stuff that you've done
before that I don't know what you want to talk about.
Speaker 4 (02:15):
If you want to talk about your history, what.
Speaker 3 (02:18):
Moved you to get into all of this, describe a
little bit more than a little bit, but break it
down for everybody, not just the artists that are listening
and watching, but people that are just driving to work today.
And I know that your experience with all of this
has something to offer everyone on inspiration or being tenacious
(02:39):
and just keep on going for things, because this is
for things. This is not an easy business. I think
there's a lot of miss misconceptions about things.
Speaker 4 (02:47):
You know, we want to hear from.
Speaker 3 (02:48):
You, like what's the biggest mistake that artists make, or
that producers make, or people in general make. But keep
in mind, we've got a lot of people that we
want to keep listening today mark that my not know
about your business. So in laypersons terms, let's talk about
what you do to build a nice foundation to explain things,
and then we'll get into what's on the ticker on
(03:09):
the bottom and your membership and all that good stuff.
Speaker 4 (03:11):
So just in simple terms, what do you do?
Speaker 5 (03:14):
Okay? What I do, very simply is if you've see
music and a TV show, in a streaming show, in
a film, in an ad, if you see music or
a musician as part of a marketing campaign, we're the company.
Speaker 6 (03:31):
We're the people that make decisions and do the.
Speaker 5 (03:35):
Deals to put that music into that programming, that concert.
Speaker 6 (03:42):
That marketing simple is that because.
Speaker 5 (03:44):
Everybody is affected by music and music when it's combined
with something visual or something interactive like a video game
or a trailer or or a concert. I hate using
the word activation, but basically marketing at account at a concert,
there's always music as one of the most important elements.
So what we do is we help musicians to connect
(04:09):
to the other side, the side that uses their music,
the side that licenses their music, the side that asks
them to create music for our projects. That's the really
top top line thing of what we do. So inside
of all of that, there's a lot of details, as
you can imagine. So basically what we do as a
(04:32):
company is three major things. One thing that we have,
the one thing that we do that we're known for
is that we have a educational platform and networking platform
called sink Summit. The information about it is at the
link at the bottom of the screen sinksummit dot com.
Speaker 6 (04:52):
And we've been doing this for about ten years.
Speaker 5 (04:56):
And the mission that I've had with what we do
with sink Summit is to give anybody who creates music
or owns music, whether you're an artist, a producer, a
label executive, a publisher, or manager, whoever you are, give
(05:16):
you the resources and the tools you need and the
information that you need to do well in our industry.
Because when people look at music for media, they think, hey,
I could have my music in there, or hey, I
could be a music supervisor, which is the person who
manages the music for projects. But the reality is is
(05:41):
that this is a business that has different layers of competencies.
Creating music or programming music, or knowing that you have
good musical taste is only one part of it. The
other important things to consider are the fact that this
is a business. So it's based on agotiation, it's based
(06:01):
on paperwork, it's based on knowing who owns what, and
it's also based on connected music to the right people,
to the right decision makers. So there's elements of marketing,
there's elements of intellectual property and.
Speaker 6 (06:21):
Basically ownership, and.
Speaker 5 (06:24):
You need to know all of these things in order
to be successful in our business, because we won't use
music or we won't work with someone who creates music
unless we are able to.
Speaker 6 (06:37):
Do business with them and know who owns what.
Speaker 5 (06:41):
So what we try to do with sing Some It
is we try to teach people what these fundamentals are,
and we do that through courses that we have. We
do it through listening sessions and discussions with other decision
makers across the industry. And in addition to that, we
(07:03):
help people take this knowledge and make it really basically
to connect to decision makers. So our event help people
to meet music supervisors, to meet people who are brand
managers in charge of marketing, and brands who are in
charge of creative direction and agencies, the people who are
(07:24):
actually signing the chase, and by giving you the knowledge
that you need of how the industry works from a
business perspective and combining it with giving you access to
connecting to people in the industry.
Speaker 6 (07:39):
On a real basis.
Speaker 5 (07:42):
We hope that we give musicians and the people that
work with music an edge so that they have a
foundation that they can then use as a platform to
connect their music to the right people and be seen
as professionals.
Speaker 6 (08:02):
That's really important. So that's one thing we do. The
other two will take less time to explain.
Speaker 5 (08:07):
The other thing that we do is that we work
into what's called the sink agency. And what sink agencies
do is, you know, if you've seen a show like Entourage,
basically we're agents, but we're not as angry or as
mean as the character are, hopefully but basically where most
of us are nice people. But basically what we do
(08:28):
is we work with artists and labels and publishers as
their representative to the decision makers in the industry. So
what that means is that will, well, we'll sign an
agreement with an artist or with a label or a
publisher and will agree to represent their music to our industry,
and then we will promote that music and promote that.
Speaker 7 (08:52):
Artist to the decision makers in our industry, and if
those decision makers decide that this music is right for
their project and there's a potential deal, then we will
go back and we will talk to our.
Speaker 5 (09:06):
Clients, the artists or the labels of the publishers, tell
them what the deal is, and then we will do
the negotiations. We'll do the paperwork, we'll collect the money,
we'll take a percentage of that money, which is how
we work as agents, and then we send the remainder
of that money to our client. And that's what a
(09:28):
sink agent does. So that's another thing that I do.
Speaker 3 (09:31):
And then I want to inter interject. Whenever you get
a second, give me your next point. Then I want
to say something.
Speaker 5 (09:37):
Okay, So the next thing that I do is I
work as a music supervisor, and a music supervisor is
someone who's in charge of the musical direction, the paperwork,
the negotiations.
Speaker 6 (09:47):
Basically the musical.
Speaker 5 (09:48):
Director of a project line. And that project can be
an ad or it can be a film, or it
can be a TV show, or it can be a trailer.
Whatever it is, there is most the time a music
supervisor involved, either working with that production exclusively or working
with a variety of different productions. In addition to that,
(10:12):
as part of music supervision, I also work on thinking
around strategic and sonic branding and advertising, and this is
an area that I love to think about and love
to work in. I've won a CLEO in it, which
is in the advertising industry, you know, kind of like
a Grammy, So I'm pretty good at that. And what
(10:33):
I try to do across all of these lines is
to work with musicians and the people that own music,
to treat them fairly, to be upfront with them on
how the business works, to give them the tools that
they need to understand the business, and to do everything
that I can to help them to understand how they
(10:57):
can make connections and hopefully succeed and fixed on the music.
Speaker 6 (11:03):
Okay, that was a long explanation, Volbie.
Speaker 5 (11:05):
I'm sorry that I just wanted to get all that.
Speaker 3 (11:07):
Oh there's no sorry needed. My gosh, we appreciate you
explaining all of that. I just keep hearing you say business.
You keep saying business, and I think that a lot
of artists and a lot of people in the world,
because there's going to be people listening to this mark
that are exactly what you said.
Speaker 4 (11:23):
You hit it a little while ago like they're.
Speaker 3 (11:25):
Basically armchair producers, and I'm sure they think, hey, you
know that song should have been in that movie, or
this should have been they should have used this for
that campaign. And what I don't think people understand is
what they should because anybody driving down the road.
Speaker 4 (11:38):
We got a lot of truck drivers listening today.
Speaker 3 (11:41):
We've got a lot of really interesting people with very
eclectic jobs. Is when you say business, I automatically hear politics,
and when I.
Speaker 4 (11:51):
Hear politics, I hear I hear relationships. And it doesn't matter.
Speaker 3 (11:56):
Got golden peeps, what business that you are in, and
some of you need to hear this message and heed
my words.
Speaker 4 (12:02):
You have to remember just the beauty and the importance
of a relationship.
Speaker 3 (12:08):
I have never gotten anything in my life that people
know me for.
Speaker 4 (12:12):
I'm quasi famous.
Speaker 3 (12:14):
In a lane without some solid relationship that has been
built upon time, delivery and trust. And I'm hearing that
a lot of the things that you're teaching people at
your sink summit, I mean no offense, Mark, but I'm
sure a lot of it's common sense some of it.
Speaker 4 (12:30):
And what I mean by common.
Speaker 3 (12:32):
Sense is I can't tell you how many people that
I've talked to in your industry and your lane in
your space, who are like, it's all about the organization
and what we call the splits in the split sheet,
and even knowing what organization you're publishing is attached to.
Speaker 4 (12:48):
Are you a BMI, Are you an ASKAP? Are you
a c SAC?
Speaker 3 (12:52):
Like some people don't even know their affiliation. Some people
don't know the writers that are on the songs that
they're writing to or receiving or getting. Some producers that
give me stuff won't tell me who is on it.
We don't know the percentage of who gets what, and
this and that and this is something. Whatever business that
you're in, whatever job that you have, don't be afraid
(13:14):
when you can, well you shouldn't anyway to ask questions,
even if you seem annoying or nosy or pushy.
Speaker 4 (13:20):
In the long run, to cover your own.
Speaker 3 (13:23):
Ass, you need to ask questions so that you've got
these answers that what you were saying is like, there's
just so many people I talk to Mark, they don't
they don't know theirs from their head, they don't know
what's going on. They have no answers, and it's just
an unorganized mess. And a lot of artists think that,
Well I don't. I don't need to do I don't
(13:43):
do that. I just write this all. This is what
I do know. If you want to be an artist
these days and actually do anything of noteworthiness and make
some money, like, you have to be organized. Talk to
us about the importance of organization across the board, because again,
tons of people listening that aren't in our industry, what
I know, they understand and value being organized.
Speaker 4 (14:07):
Let's talk about that.
Speaker 5 (14:09):
Okay, well that's fair, and I think that being organized
and doing what I call the back office work is
really key.
Speaker 3 (14:15):
And I didn't mean some of the things that you're
think some it are like, I mean, it's some of
it is just like you should know this stuff and
you don't. Of course you're going to get all kinds
of amazing stuff. Don't take me wrong on that. I
don't mean to come across the wrong way.
Speaker 6 (14:28):
No, not at all, not at all.
Speaker 5 (14:30):
I didn't take it as being anything. But you know
a question. So okay, you know, at the end of
the day, our business is built on three It's like
a three legged stool. This is the way that I
think about it. One is the quality of your music.
The other is the professionalism of your data and information
(14:52):
and how you present yourself. So sort of I would
say like technically, I would call that more technical. And
then the thing is how do you interact with people.
You have to have all three of those at the
right level in order to position yourself for success. Now,
in terms of the quality of the music, I can't
(15:12):
speak to that. You have to do your work to
mix and master and be the best artist that you
can be. If you're an artist, and if you're a
publisher or a label, you should know exactly what you
need to do in terms of you're an art So
I'm not going to get into that part. But where
I can be helpful is to say, okay, so what
(15:34):
does your metadata look like? First of all?
Speaker 6 (15:36):
And what I mean by that when I say metadata is.
Speaker 5 (15:39):
That metadata means what's the data around your music. You
need to have good metadata. You need to have good
information so that when you send it to someone like me,
I'm able to know the basics about your music. And
that means not just the type, but who are the writers,
(16:03):
who are the publishers, whether you're self published or you
have a company like BMG or universal publishing you it
doesn't matter. I need to know who the publishers are.
Then I need to know where your royalties go. And
when I say where your royalties go, I mean who's
your performance rights organization, your PRO. In the US, that's
(16:25):
the big three are EMI, ASKAF and CSAK. There's also
There's Those are two others that have a small position
in the industry, but those are the big three. If
you're outside of the US, you have people like Soapan
in Canada, you have people like you have organizations like
jazz Rack in Japan, et cetera, et cetera. Every artist
(16:48):
is associated with a PRO, usually from their own country.
So we need to know who that is. Because we
don't know who that is, we can't pay royalties.
Speaker 6 (16:57):
Very important. Then we need to know your contact information.
Speaker 5 (17:03):
And you'd be surprised how much I get music from
people and there's no contact information, there's no there's no email.
Speaker 4 (17:12):
Yeah, how do you get the stuff? Then? Is it
just coming to mail or what's happening?
Speaker 6 (17:16):
No? No, No, What happens sometimes is that people will
send it.
Speaker 5 (17:19):
To us and then we'll get a link or we'll
get it. We'll get it sent to us as an
MP three, which is totally unprofessional, But we'll get it
sent to us as a link and then take that
music and we won't immediately listen to it.
Speaker 6 (17:35):
We'll probably take that music, put it in a.
Speaker 5 (17:38):
File either on the cloud or on our on our
on our computer, and then we may reference it six
months later. So when we reference it, we're not going
to be digging through all the emails trying to play detective.
We might even have deleted those emails. I'm just telling
you how it really works. So we need to have
inside of the MP three's metadata your contact information.
Speaker 6 (18:01):
That's really important.
Speaker 5 (18:04):
Another thing is we need to know from you a
little bit about what the music sounds like. And why
I'm saying that is that when we search for music,
whether it's on the cloud or whether it's.
Speaker 6 (18:16):
On our computer, we're going to look for it.
Speaker 5 (18:20):
Based on keywords, So things like what is the BPM?
We need to know that. We need to know what
is the genre of the music, and you can basically
figure out what your genre is. Also, we need to
have descriptive tags. Is it an instrumental metal? Is it
a female singer or male singer? Are there any subject genres?
(18:46):
What's the tempo of the music, Are there any instruments
that we should know about, who does it sound like?
And most important, what does it feel like? Because a
lot of our searches are based on feeling. What we're
trying to get is we're trying to get music that's
going to help us tell a story better or it's
(19:06):
going to help us to sell a product better on
the ad and brand side, and we're looking for certain
kinds of.
Speaker 6 (19:14):
Things from a lyrical point of view, or from.
Speaker 5 (19:17):
A sound point of view, or a structural point of view.
So that needs to be in your metadata, and we
have on our website. You can look it up on
the block portion. There's an absolutely free metadata style guide
that you can download and you'll get all of this
information and so much more, and you'll learn how to
do this. You can do it for free. If you
(19:40):
won't take the effort to use that guide and pull
together your metadata and make it professional, that's super important.
And I'll tell you why it's super important, because I'm
telling you this and this is real, real life. Eighty
(20:02):
percent of my friends that I talked to about metadata
who are music supervisors and decision makers. If we open
up at MP three, and we don't see metadata inside
of it that tells us about it and how we
can pay someone and how to get in touch with them.
A lot of the time we don't even listen to
the music because we look at this in real life.
This is it. Excuse my language, this is a shit show.
Speaker 6 (20:22):
I don't want to get involved in and move on.
Speaker 5 (20:25):
To the next And that song from a stylistic and
feeling point of view, could be the perfect song. But
if we feel like we can't clear it or we
can't deal with you, we're.
Speaker 6 (20:37):
Going to move on to the next thing because we
have to. Because it's a business. And that goes back
to what we said at.
Speaker 5 (20:44):
The beginning here, it's a business, and as a business,
we have to balance the creative with the business needs.
Speaker 4 (20:53):
I was just muting my mic to clear my throat
because you were talking.
Speaker 6 (20:56):
All not no no worries, no worries.
Speaker 3 (21:00):
I got you all that, and then I'm listening to
all this and then we'll talk about this later. But
I'm panicking that I didn't submit my stuff to you
properly what I think that I did, because how I
gave it to you on that website has really good
metadata oh no, I'm God.
Speaker 6 (21:15):
There's a couple of little things that I would tweak.
Speaker 5 (21:17):
But it's good, good, Well, you've done a good job.
Speaker 3 (21:22):
God.
Speaker 4 (21:22):
No, I was looking for praise.
Speaker 3 (21:23):
I just always want to because I do know about
relationships and organization.
Speaker 4 (21:28):
I always want to make sure that I do things correctly.
Speaker 3 (21:31):
And you said something earlier about which was I've I've
submitted to people before and they've asked for MP threes
and all my stuff is waves, So, uh, why is
MP three bad that you're I know why it is,
but I don't know why they're asking for MP threes.
Speaker 4 (21:47):
But like explain that.
Speaker 5 (21:49):
There's two reasons, and you really should send out your
music to us, not to me, because you and I
are you know, we got our own thing going on.
But if you're sending it out to somebody for the
first time, you have got to send out MP three's.
And one of the reasons why is because first of all,
(22:10):
if you send us waves, waves do not include metadata.
So if you send me a wave, it doesn't have
metadata in metadata MP three. So that's one thing. Now,
we have another type of file called an AIFF file,
which is a high resolution file. Those files have metadata,
(22:30):
but Okay, give you another reason or two reasons why
you shouldn't send us wave files. The first thing is
wave file. The big wave files are going to be
somewhere between thirty and one hundred megabytes per file.
Speaker 6 (22:46):
That adds up.
Speaker 5 (22:47):
It adds up in terms of download time, and also
when we're sharing them, whether it's with the post production
editors or whether it's with a showrunner, a director, or.
Speaker 6 (22:57):
Somebody at the brand, we're not I don't.
Speaker 5 (23:00):
Want to send them like a one gig link or
one gig file.
Speaker 6 (23:06):
We don't need to do that at this time.
Speaker 5 (23:09):
What we need to do is we need to be
able to first of all, see your metadata, which an
MP three allows, and second be able to share the
music quickly, because we're not going to be putting your
music into the production at this point.
Speaker 6 (23:26):
We're going to be a value the beating.
Speaker 5 (23:28):
For the first thing, when you send it to us
and if it resonates, what's going to happen As a
music supervisor, I'm going to go, Wow, this is this
is really good. Let me put it in a playlist
that I'm going to put together in about twenty songs,
and then what will happen after that is that I'll
put together this playlist, and then the next step is
going to be I'm going to talk to my other
(23:50):
decision makers on the team. I'm going to talk to
the editor. I'm going to talk to the creative director.
I'm using an ad as an example. I'm going to
talk to maybe the brand person. I'm going to talk
to the top copywriter, and I'm going to say, Okay, So,
based on everything that we've talked about and what I've seen,
these are the choices that we have to look at it.
You know, these are the choices that work in terms
(24:11):
of style, in terms of budget, in terms of feeling,
and here's why. And being able to put together that
list and have that list as something that for twenty
songs is going to be two hundred megabytes instead of
two gigabytes as a download, well, that saves everybody time,
(24:34):
It creates efficiencies that we need, and it reduces friction,
and that's really important to us when we're in the
production art With that said, if we really like a
song and we go to the next step and we say, okay,
artists or okay, label, we want to license this song.
This is the deal that we want to do. We'll
send you out a not an agreement yet, but we'll
(24:55):
send you out a turn sheet which will get give
you the basics of what the deal is. You signed that,
then that's the time that you send us what we
call the lossless file, the wave file, the ai f
F file, because at that point we're going to need
the full fidelity of the sound, and the MP threes
(25:18):
aren't going to give us a full fidelity, so we
need to have the wave file then, not before. So
you know, these little things you don't think about, but
for us, you know, when we look at how we
do business and the flow of it, there's an order
of things that helps us reduce the time that we
(25:39):
spend working on taking a piece of music from discovery
to usage. And that's why MP three's are very important
to us.
Speaker 3 (25:51):
Okay, you'd said earlier, though you said earlier, don't send
an MP three, But that's because of the order that
we were talking about.
Speaker 6 (25:59):
No, no, no, send an MP three in the beginning.
Speaker 4 (26:04):
In the beginning, yes, got it.
Speaker 6 (26:07):
No, you only send a wave file.
Speaker 5 (26:08):
Don't send a wave file until you're at the point
that you've got a deal or it looks like you
have a deal.
Speaker 3 (26:16):
So are these details some of the things, like what
are some because I want to title this podcast like
everything you need to know to get your songs on
TV and in the movies?
Speaker 5 (26:27):
Well, what are some you need to know to position yourself.
I cannot guarantee that anybody anything in any media.
Speaker 4 (26:34):
A title is a title mark. We got to get
people to listen.
Speaker 5 (26:38):
Oh, I'm just saying like there are way too many
hucksters that are out there saying, oh this is happening
with sin Sync's blowing up, Synk is amazing, sink is
going to get you paid. Maybe, Okay, somebody who actually
works in it. Maybe I can't guarantee you show.
Speaker 4 (26:54):
Nothing's guaranteed anybody guarantee.
Speaker 5 (26:56):
Out there saying that it is. But I can give
you the building blocks. I can give you the information
that you need and the connections so that you can
present yourself in the right way and you can make
the connections that can lead to success in this business.
All right, So anyway, I just always like to say
(27:17):
that because it's important. There are a lot of things
goo that you can do that can position yourself so
that over time you will be successful in this industry.
And metadata is part of that. The other thing is
you just have to get your music out there. You
(27:37):
have to get your music out there. You have to
get it out in the right way. I would say,
you know, you use a system like disco which is
our industry standard for sharing music, and that's Discodisco dot AC.
If anybody's never heard it, you should check it out,
and it's what we use to share music. It has
(27:58):
a lot of interesting tools that you can that can
help you. But basically what you need to do is
you need to think about how do you market your
music to music supervisors and decision makers. How do you
get people like myself and other sink agents or custom
music houses to work with you to connect your music
to the industry. And sink agents and custom music houses
(28:23):
are not going to do your metadata. You've got to
do that yourself. But what they can do is they
can help you to grow your network. You can grow
your network organically, and you should, but at the same time,
you should work with people that are already trusted resources
in the industry.
Speaker 8 (28:39):
So connecting with custom music houses, connecting with sink agencies
is very important for everybody that works in this industry
because it will.
Speaker 5 (28:50):
Help you to expand the potential chances for your music
to be heard by decision makers and to be used
by decision makers, and all of that will help you
over time to be successful in this industry because you know, honestly,
the way that it works is that we have a
lot more supply than demand, right, we just do in sync.
(29:13):
There's a lot more there's a lot of people trying
to get their music into projects. Who are the people
that win? Who are the people that really succeed? Okay, well,
first of all, your music's got to be good. Okay,
that's number one. Number Two, you've got to make sure
you've got all of this data stuff that I talked
about correct. Number Three, you've got to be politely persuasive
(29:40):
to the people that you meet and be kind to
them and treat them like human beings. Research them, not
in a creepy way, but research them, research their social media. Well, no,
it's important because it's like sometimes feel like people get
a little creepy when they start getting personal. You know,
(30:02):
all of us do. So I'm just saying, check out
what they do professionally, you know, check out check out
what they do. Maybe you know, not say oh wow,
I was just hiking five blocks away from your place.
Maybe you don't want to go that far, but you know,
get an idea of who they are. Check them out
on social media. Check out their IMDb. If they work
(30:23):
in advertising and branding. They don't have an IMDb, but
do a Google search. Check them out on LinkedIn, and
just try to make contact. Research them, see if they
have a website, See if.
Speaker 6 (30:38):
They have an email address that you can find.
Speaker 5 (30:40):
And I'm going to.
Speaker 6 (30:40):
Give all of you right now a big.
Speaker 5 (30:43):
Resource that you can check out that will really help you.
There is something that I use that I tell all
of my students about called contact out and it's contactout
dot com c O N t AC t out dot com.
Contactout dot com when you combine it with LinkedIn, allows
(31:05):
you to get emails of people from their LinkedIn accounts,
even if you're not connected to them.
Speaker 3 (31:12):
Even if you're not a LinkedIn premium at fifty dollars
a month.
Speaker 5 (31:15):
Yep, yeah, look, contact out costs one hundred dollars a month,
so I will say that, but.
Speaker 6 (31:21):
It's okay, one hundred dollars that I spend.
Speaker 5 (31:23):
Okay, if I can get in touch with just one person, yeah,
I want to connect with who's important, and I get
their email addressed through it, then I win. Now, I'm
not going to tell you how to use contact out
because that's something we do in our courses, but you
can figure it out for yourself.
Speaker 6 (31:43):
If you don't want to take our courses, that's fine,
you can still go ahead and use it.
Speaker 5 (31:48):
But you can find out information on the internet about
almost anyone, and not just their contact information, but who
they are, what's important to that, what projects do they
work on.
Speaker 6 (32:01):
And the reason I'm giving you.
Speaker 5 (32:02):
Like this whole big monologue about this is that once
you get this information, you've got to present your You've
got to present yourself as an authentic person who knows
about what they do and who they are and treat
them like human beings. Because I feel like I know
this actually, Goldie, is that a lot of the time
(32:23):
people see us as inboxes and not as human beings,
and they're just like sending us the exact same email
every single time, not knowing who we are, what we
work on, and as a result, you turn a lot
of people off into doing that. You know, if you
do a little bit of research, a little bit of thought,
like hey, oh wow, so this guy he was a
(32:47):
chief creative officer at the agency AKQA, but before that
he was actually a musician and he was working as
a musician who was doing gigs in his native city
of Rio Visionaro, and he went from that to creating
(33:09):
music and then he joined the firm.
Speaker 6 (33:11):
You can find out all of this.
Speaker 5 (33:12):
About the person I'm bringing up as an example within
five minutes, and then what do you do with that information? Well,
instead of throwing the same email that you throw at
fifty other people, you can say, Hey, I'm not going
to use the name of the person that I brought
up in my mind, but like, hey, I'll make up
a name. Hey, Raphael, it's so good to have the
(33:34):
chance to connect with you, and I really appreciate the
work that you've done from the beginning of your career
until now.
Speaker 6 (33:42):
As the chief creative officer at AKQUA.
Speaker 5 (33:45):
In hopes of helping you, I'd like to introduce myself.
My name is Blah Blah blah. I do this. I'm
an artist.
Speaker 6 (33:53):
Here's a link to my music if you have the
time to listen.
Speaker 5 (33:56):
I'd love to have the chance to help you out
in any of your projects if given the opportunity.
Speaker 6 (34:02):
Thank you, so much for your time, and I hope
you have a great day, rest of the week, weekend,
whatever it is.
Speaker 5 (34:06):
That's it. How much better is it to do that
than to just send an email that says, Hi, I'm
an artist, I'm in music.
Speaker 6 (34:14):
Here's a link to my music. I would love my
music to be in your projects.
Speaker 5 (34:19):
Thank you. You know what.
Speaker 6 (34:21):
It's just like, it's like Goldie.
Speaker 5 (34:23):
I mean, it's like, look.
Speaker 4 (34:24):
I get it. Mark.
Speaker 5 (34:25):
One of the first books that was given to me
in my career was Dale Carnegie's Had to Win Friends.
Speaker 4 (34:31):
O Friends and Influence people. Yes, And my.
Speaker 5 (34:34):
Boss was like, Mark, you need I'm giving you this book.
And it was like he gave me like some nineteen
fifties edition literally and it was like it was the
cool edition of it. But he was like, Mark, you
need to read this one here because it will help
you in the way that you speak to people and
how you orient yourself. And I just take the approach
(34:55):
that Dale Carnegie did, which is know who it is
that you're getting in touch with and what's important to them,
and then lead off of that, because if you tell
me all about what your needs are when you.
Speaker 6 (35:09):
Start off, you're gonna my eyes are gonna do a blasting.
Speaker 5 (35:12):
But if you talk to.
Speaker 6 (35:13):
Me about me, I'm going to be lured in.
Speaker 5 (35:17):
And then once you've got my attention, then you can go, oh,
by the way, this is who I am and this
is what I'm about. And then I'll go, Okay, person
who gave me a compliment, click, I'm going to check
you out. And that's one of the things that you
have to do. The other thing you have to do
is you have to go out. You have to go
out to events, whether they're online or in person. You
(35:39):
have to get yourself known and you have to get
to you know who people are.
Speaker 4 (35:44):
And let's talk about the Sink Summit. Wouldn't that be
a good place for people?
Speaker 5 (35:49):
Yeah? Absolutely, Bildy. I mean so like one of the
things that I try to do when I created the
Sink Summit, and I haven't gotten into the backstory or
anything because I wanted to talk about now and what's
applicable to people. But basically, I came from a venture
capital firm twelve years ago. I come from like a technology,
(36:11):
technology and entertainment background. And you can look up my
LinkedIn if you want to see the history. It's pretty impressive.
But anyway, moving on, I was working with a venture
capital firm helping to manage the marketing for a variety
of the companies that they were investigate, And after doing
(36:35):
that for a little over two years, I thought, you know,
I want to do something different. I want to go
back into music because I've always gone between, Like music's
always been a passion for me. I'm a musician and
a singer. And you know, I've got a lot of
friends who are musicians. Some of them are very famous,
some of them aren't. But the one common denominator that
(36:57):
I found with my friends that they would always bitch
to me about was mark I'm not making money from
that scene.
Speaker 6 (37:06):
I'm not making money from that ringtop.
Speaker 5 (37:10):
I'm not making money from that because I signed my
rights away to my label, Slash publisher, Slash whatever. And
then that was for famous artists and for artists that
weren't famous, they were stuck in this new paradigm of
an industry where they were like, how do I get anything?
(37:30):
Like streaming services don't pay, people are pirrating music. It's
just a mess, Like what can I do to make money?
And I thought to myself, well, I want to help
my friends to make money, and you know, make some money.
Speaker 4 (37:44):
Myself, you know.
Speaker 5 (37:47):
And my first thought was, okay, so where's the money.
And then a friend of mine who's been a friend
of mine for a long time, and I will mention
his name, Matthew Knowles. He's been a friend of mine
for like twenty three years. He and I will talk
to each other maybe one months every one to three months.
Speaker 6 (38:08):
And for those of you they don't know who Matthew is.
Speaker 5 (38:10):
He's Beyonce and Solange's dad and was Destiny's child's manager.
And before that, he was the number one salesperson of
the Phillips of medical imaging equipment. So you know, he's
not just like a dad manager. He actually is very smart.
And he and I had this conversation, i want to say,
(38:31):
in two thousand and six or two thousand and seven.
I'm like, Matthew, what's going on. He's like, well, let
me tell you something. I've got something really cool going on. Mark.
Speaker 6 (38:40):
We've got this deal that we're doing with Loreal and
Beyonce's going to be.
Speaker 9 (38:47):
In the commercials and Solange is going to be in
the commercials. And I was like, wow, this could be
a really nice payday and He's like, Mark, No, you
don't get it. It's sure, we're going to make money.
Speaker 5 (38:57):
From the commercial, but the real payday here is that
they're going to be using their music in the background,
which is which is a promotion for the music. But
we're going to be putting out their albums as the market,
as the advertising campaign goes worldwide. So because of that,
(39:21):
we've taken Sony's budget, which was I don't know, thirty million,
twenty million, whatever it was, and elevated it to a
budget beyond one billion dollars worldwide to market the artists
and their tours and their albums that are going on
all in the same timeframe. I was just like, oh
(39:41):
my god, this is the future. This is the future.
Speaker 6 (39:44):
Like I said to it. I said to it like
this is the future.
Speaker 5 (39:47):
And it was in the back of my mind while
I was at the PC and I thought, Okay, so
I'm going to leave this like crazy world here. I
want to go and do something where I can help
to realize this position for artists where they can say, hey,
I'm gonna get my music in a commercial, I'm gonna
get my music aligned with a brand.
Speaker 6 (40:05):
I'm gonna get my music.
Speaker 5 (40:06):
In a film or a TV show and by doing that, yeah,
I'm gonna make money on the sing or I'm gonna
make money on creating the music, but I'm also gonna
get my music promoted because in this world, there's very
few ways to get your music out to a massive
market in the way that a commercial can or a
(40:27):
way that a film can. And that was the vision
that made me start this business. That was why I
started this and what I wanted to do originally is
I wanted to be a sink agent. I didn't know it,
but I wanted to be a sink agent. So I
started a sink agency. I started working with people and
(40:47):
then I thought, hey, why don't we do a little
get together and get some people around the table to
talk about where the industry's going. And that was where
Sink Summit began. But then I saw a need for
people to be educated as well as network. So now
we're back at sing Semit. But I wanted to give
you that little story because I think it's important for
people to understand where my thought process was in creating sings.
Speaker 4 (41:13):
What is the next Sink Semmit?
Speaker 5 (41:15):
Well, going on, the next advertising one is in New
York on October six and seventh, and we're doing it
in during the same week as Advertising Week, so there's
like thirty five thousand advertising people in New York that
week going to the bigger event. But we're doing our
(41:36):
event on the sixth and the seventh of October. And
then we have our Los Angeles event, which is I
would say as opposed to New York, which is more
brand and advertising centric. Our Los Angeles event is taking
place on February fourth, during Grammy Ray and that event
brings together everybody from the industry, all the music supervisors,
(41:59):
all the all the artists, all the label people, everybody
who works in the industry to get them together the networks.
Speaker 6 (42:05):
So those are our two events that are coming up.
When is.
Speaker 4 (42:10):
LA When's the LA one LA.
Speaker 6 (42:13):
Is on February fourth, And then.
Speaker 5 (42:20):
We also have classes that are coming up. We have
one class beginning at the end of June that's about
that's oriented solely towards brands and advertising, and I teach
that with a guy named Joshua Rabinowitz. Josh used to
run the music department at Great Advertising, and before that
(42:42):
he ran the music department at Young and Rubert Camp,
So he really knows what he's doing.
Speaker 3 (42:47):
This is just so interesting and I'm even thinking about coming.
Speaker 4 (42:50):
That's amazing, So keep going.
Speaker 5 (42:51):
We should definitely come, especially the AD one and No,
they're both great. I'm just very partial to the AD
one because I do work in ads. But we do
a lot more than just the sink summits. We also
do online listening sessions where we will feature a music
supervisor or another decision maker alongside me and we'll listen
to people's music online and then we'll give feedback on it.
(43:14):
We'll share live briefs, and we'll give you're a video
archive of the listening session at the end. So that's
another thing we do. The course, which is where I
left off. We have the Advertising and Brands Course, which
is nine intentsive weeks of everything about how the advertising
industry works with music, which is it's pretty complicated, to
be honest, but Josh and I we know what we're
(43:36):
talking about, and we do a great and it's a
fun course and you'll come out of it knowing how
to work with the ad industry, which is honestly, very
different than working with the rest of the rest of media.
And then we have another course, which is our SYNC
course and that begins in July, and that course teaches
(43:58):
you about in a more how all of the areas
of the industry work. And it includes listening sessions, so
there's opportunities to connect with people, and there's opportunities to
learn the basic building blocks of what we've been talking
about today.
Speaker 6 (44:14):
The third thing is we do.
Speaker 5 (44:16):
This membership where basically you get all of this stuff
for an entire year, and you get a monthly thirty
minute consult with me so that we can go.
Speaker 6 (44:27):
Through everything that you want to talk about.
Speaker 5 (44:30):
In addition to that, I give you my I give
you my mobile number and my.
Speaker 6 (44:35):
And please don't abuse it, but I give you my.
Speaker 5 (44:38):
Mobile number, and I give you my email address if
you have any questions or anything that you want to
talk about or.
Speaker 6 (44:45):
Anything that comes up.
Speaker 5 (44:46):
And an example I can give you is like one
of one of my students, he was sent a he
was sent an agreement, which which I looked at, is
like somebody's you know, not set and you this in
in good faith, but you know he sent me agreements
like Mark, what do you think of the terms of this?
(45:07):
And I was like, well, they're not really doing this
in good faith. You should go back to them and
asking for this. So I'll do little things like that
on an ad hoc basis is part of what we
do in the membership. So basically, I'm kind of like
your I'm kind of like your your concierge taking you
through a year of this industry and helping you to
know who are the places, who are the people and
(45:29):
the places that you should go to and helping you
to you know, present yourself in the best place. So
that's what we do.
Speaker 4 (45:39):
This has just been amazing.
Speaker 3 (45:40):
I was only expecting a half an hour, so I
appreciate you giving us so much time in your day
and just.
Speaker 4 (45:46):
Education and knowledge. Happy, Yeah, this is this is great.
Speaker 3 (45:51):
A lot of people will find a ton of value
in this, but we want to drive it home that
you want to check out this membership that's at the
ticker at the bottom.
Speaker 4 (46:00):
It's going to answer a lot of questions for you.
Speaker 3 (46:02):
It's going to give you a lot of resources, it's
going to help you with your education, and in a
non creepy way, you get access to Mark.
Speaker 5 (46:09):
And what I really hope that you guys take advantage
of some of the things that we're doing. Even if
you don't want to sign up for any of our stuff,
which I hope you do. Our website has a lot
of free information that's really good for you to know now.
So you can't afford it or you don't want to
pay for it, then we still have some stuff that
(46:29):
can help you.
Speaker 4 (46:30):
And I don't think it's people don't want to pay
for it.
Speaker 3 (46:32):
I think these days we just have to prioritize what
we're spending our money on. Like when you were telling
me about you know, a certain platform, and you mentioned
it during the pod, It's like I said, I'm with
this one just because sometimes we get subbed out on
subscriptions and there's just so many, so you just have
to figure out, you know what, maybe there's some lattes
(46:54):
or some drinks or treats that I can give up
or cut out or change or swap with the valuable
knowledge that you have to offer with this. I was
looking through at the prices for the actual sink summit.
Speaker 4 (47:07):
I'll to check that out. We'll talk about that off air. Also,
if you had to.
Speaker 3 (47:10):
Give people just I've got a couple of friends that
are really really trying their asses off in this industry.
What's just some closing notes and just some golden nuggets,
some advice that you've learned with all of your time
in this business, just some closing thought that can be
encouraging and help people.
Speaker 10 (47:28):
Well, you know, I think the thing that you have
to do is just believe in yourself at the end
of the day, because a lot of people are going
to tell you that, oh, I don't like I don't
like this music, or I don't like your voice, or
I don't like this or that, or we've got so
much of this.
Speaker 5 (47:47):
Like honestly, the heck with all of that, I'm not
using the expltive I would use because you know, at
the end of the day, I'll give you my own experiences.
I had one of my best friends as a music supervisor,
somebody who I respect great greatly go to me when
I brought them to see an artist and a songwriter
(48:09):
that I really truly believe in, somebody who actually like
has a lot of talent and has had a lot
of success in production. And when I brought this person
to see them play live, they were like, you know, Mark,
I mean, he's good, but we just got so much
(48:29):
stuff like this. I mean, it's just like all over
the place, and I was just like, initially I was
kind of cressfall and I was like, no, you know,
that's a horrible thing for you to say. I mean, God,
there's got to be a place for this guy's stuff.
So I didn't give up, and it took me ten years.
But but yeah, for this particular artist, it took me
(48:50):
ten years.
Speaker 6 (48:52):
But when the music did hit, it was a seven
figure deal.
Speaker 5 (48:59):
Yes, So keep the faith.
Speaker 6 (49:03):
That's the most important thing I'm going to tell you.
Speaker 5 (49:05):
Keep the faith in yourself. And beyond that, just do
the work or you know, just just do the work.
And I'm talking about doing the creative work, of course.
But you're in a great place in this world right
now because ten years ago, twelve years ago, there was
no information out there and really no tools to help
(49:25):
you to connect to people and to learn about how
this industry works. You know, do the work. Find people
to help you, whether it's me, whether it's somebody else,
whether it's a sink agent, that doesn't matter, and go
out there and get your music out to the world.
Speaker 6 (49:41):
Don't be afraid to make.
Speaker 5 (49:42):
Connections, don't you know, take the time to figure out
where they're online or in person. Events Mine or others,
and just get yourself out there. So those are the
three things, you know, believe in yourself, do the homework,
and get yourself out there.
Speaker 4 (49:58):
Absolutely the nuggets.
Speaker 3 (50:00):
I want to thank everybody for almost an hour of
your time today gold Is Closets, Episode two fifty what
is it two.
Speaker 4 (50:07):
Fifty seven already? Wow, we're cruising and that's really great. Years.
That's a lot of years of podcasting. Mark freezer, everybody.
Speaker 3 (50:14):
That's how you say it, right, I've heard it, yes,
raise it yeah.
Speaker 4 (50:18):
Like a freezer. I've heard it said differently online. So
I was going to make sure.
Speaker 6 (50:21):
People people mess up the name.
Speaker 5 (50:25):
It's a name that you know, people people pronounce correctly
if they're from the Netherlands, Austria, Germany. It's one of
those things. It's a Northern European name, so you know,
I'm proud of it, but it's uh, it said anything
from Fraser to Fraser the freezer, the freezer, A freezer
is the correct name.
Speaker 3 (50:45):
Thank you, we'll take it. Thank you so much for
your time. We're going to end this one and close
and we actually do wave like that and we clap.
But Dan and I always says stay safe out there.
But be free and always stay golden.
Speaker 5 (50:56):
And then we clap, Thank you everybody.
Speaker 3 (51:05):
You've got. What's up everyone, It's Goldie Impact Wrestling, TLC's
Cheap Skates, Ted Nugent's running wild from him somewhere in
the woods.
Speaker 4 (51:18):
And maybe you've seen our band, Goldilocks Band.
Speaker 3 (51:20):
We're out there, we're on tour, but now we're connecting
on cameo. So I want to tell you that I
am here to be your humble servant. And that's whatever
you need said for you, for a friend, a shout out,
a golden shout out. You name it here and on
it now, just reminding you keep it classy, keep it cool,
and keep it above the belt.
Speaker 4 (51:39):
But I want to offer you something a little bit,
a little bit different.
Speaker 3 (51:42):
Just remember, if I'm not on the road and I've
got access to these next beauties, we can always have.
You want to make this the most amazing experience for
you ever because you deserve it, your friends deserve it,
(52:03):
your loved ones deserve it.
Speaker 4 (52:05):
And just remember, I can sing you a few lines
of a song.
Speaker 11 (52:08):
It can be from from anywhere like it can be
from songay, or it could be.
Speaker 12 (52:21):
Fun well, it could even be honor highway way.
Speaker 13 (52:36):
It can need to be com there. Oh and keep
in mind, not all requests are the same. Maybe your
motivation comes with a harder edge. Maybe you need a
more jagged little pill. There's nothing that I love more
than playing the heel. So if you need your message
delivered with more uh oh, what's the word I'm looking
for intention, please specify it.
Speaker 4 (52:59):
I can't wait to connect with on cameil. Thanks so
much for being here.
Speaker 2 (53:02):
Stay Golden
Speaker 5 (55:00):
M.
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