May 30, 2023 • 34 mins
How do you increase your value? How do you know what is valuable? We want to help you crack the code to the sync world. We dive into all things music licensing and discuss solutions to these questions and much more with our guest, Jennie Armon.
“It is less about what you do when you go into the studio than how you come prepared.” - Jennie Armon
Sweet Relief Musicians Fund: Sweet Relief is a nonprofit organization focused on providing financial aid to musicians facing illness, disability, or age-related challenges. They offer assistance to career musicians who are struggling to make ends meet. They have tons of resources for music industry professionals, providing emergency financial assistance and other forms of support to career musicians, road crew and anyone who makes the majority of their income in the music business. Learn more at www.sweetrelief.org/
Today we conclude our sit down with Executive Creative Producer + Music Supervisor for Squeak-e-clean; Jenny Armon
Action:
Become a supporter of this podcast: https://www.spreaker.com/podcast/musicians-tip-jar--4698023/support.
“It is less about what you do when you go into the studio than how you come prepared.” - Jennie Armon
Sweet Relief Musicians Fund: Sweet Relief is a nonprofit organization focused on providing financial aid to musicians facing illness, disability, or age-related challenges. They offer assistance to career musicians who are struggling to make ends meet. They have tons of resources for music industry professionals, providing emergency financial assistance and other forms of support to career musicians, road crew and anyone who makes the majority of their income in the music business. Learn more at www.sweetrelief.org/
Today we conclude our sit down with Executive Creative Producer + Music Supervisor for Squeak-e-clean; Jenny Armon
Action:
- Download our MTJ music catalog and start organizing your material so you can be more ready when those sync opportunities come.
Become a supporter of this podcast: https://www.spreaker.com/podcast/musicians-tip-jar--4698023/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:01):
Welcome to the show that explores themethods and strategies on rocking the financial side
of your music business. With overforty years combined experience, here are your
host Chris Webb and Dave Dampkin.Welcome to Musicians tamp John when we talk
about musicians and money, but webelieve adding value is the secret code to
(00:21):
making money. I'm Chris Webb,joined by my co host and the guy
who loves to talk in code,Dave Tampkin. Thanks for having me back,
Chris Webb. It's not so muchtalking in code as much as it
is just assuming you can read mymind and I start halfway through what I
want to say because I've already thoughtit, and then you have me start
(00:42):
over from the beginning, and thenit just gets all jumpled. So how
do you increase your value? Howdo you know what is valuable? We
want to help you crack the codeto the sync world. We dive into
all things music licensing and discuss solutionsto these questions and much more with our
guest Jenny Armand. Our quote todaycomes from Benjamin Franklin. For every minute
(01:07):
spent in organizing an hour is earned. I only let quotes from before the
year nineteen fifty two. That issomething very unique to you, my friend.
(01:32):
And they're great quotes. You know. It's just a reminder that we
knew everything we needed to know onehundred year we still just haven't figured out
to apply it. This week's nonprofitis Sweet Relief Musicians Fund, a nonprofit
organization focused on providing financial aid tomusicians facing illness, disability, or AIDE
(01:56):
related challenges. They offer assistance tocareer musicians who are struggling to make ends
meet. They have tons of resourcesfor music industry professionals, providing emergency financial
assistance and other forms of support ofcareer musicians, road crew, and anyone
who makes the majority of their incomein the music business. Learn more at
Sweet Relief dot org. All Right, today we conclude our sit down with
(02:16):
executive creative producer and music supervisor forSqueaky Clean, Jenny Rma. So,
(02:36):
what would be some ways that anartists could increase their value then as they
get into the sync world. Ithink collaborating with larger artists is a really
really good move. If you're touring, which is a great moneymaker, ish
try getting on the bill with reallywell known bands try like helping leak one
(02:58):
of their tracks and saying, hey, we will promote one of your tracks
if you can promote one of ours. You know, again, if they're
really big, they might not care. But it's developing those relationships and that's
going to be a common threat inthis conversation because these relationships, for one,
have helped me move forward in mycareer. They have supported me in
my life. When I was teaching, I was getting like I was getting
(03:23):
the commission from projects I had pulledin that was helping fund that side of
what I was doing at the time. So it's like, hold onto those
connections so much and develop them.And if you can get in the same
room with someone at Mumford and Sons, do it. Drop whatever you're doing
and develop that relationship. You know, maybe your manager might manage some bigger
(03:45):
bands, or maybe your sink agentlike Zinc. You know, for instances,
a great sink agent like maybe Zinchas some people on their roster.
Okay, I'm going to reach outto ten people today that are really cool
bands, and I'm going to tryto get to know because we're on the
same roster, or maybe I'm analumni of Berkeley, and they are too,
I'm going to reach out to thisperson. So it's really trying different
(04:08):
ways to get in the same roomor have a community a conversation with the
people that can help elevate you andhelp you step higher. I love that
we talk about the community. It'simportance of community in every way, right,
and that's I mean. I lovethat it translates straight into the sync
world too, No surprises there.But it's also important for people to remember
(04:30):
that everything, everything that they writeto these people matters. Right. We
talked a little bit about etiquette whenyou were in the class, about how
to approach people like supervisors and otherpeople that you want to have connections with.
Let's talk a little bit about whatyou like. Some major points about
etiquette. Things that are big nonos in the music sync world. Sure,
(04:51):
first thing, do not ever attacha track to your email. It
will shut down our emails. Iget so many emails per day. If
you're attaching all of your tracks yourcollection, or even just one track like
it will gunk up my email.So make do yourself a favor and make
(05:13):
a log in and a user profileon we transfer orbox dot com or dropbox
or My favorite is disco DSCO justspelled like that. A lot of music
supervisors I don't have this, buta lot of music supervisors in the big
world will have their own link totheir library that you can put your tracks
(05:34):
in there, just like upload themand then they will look through them.
So that is a really good moveby sending a link in an email.
Also, please please please do yourresearch on us. If I working at
Squeaky Clean, you're looking at SqueakyClean's website and you're seeing, Okay,
(05:54):
they do hip hop, electronic,a lot of rock, but I'm going
to send in some polka. Thereis nothing I can do with that,
probably unless maybe one sin a bluemoon like, I'll have somebody reach out
for that. But like, knowyour audience. So if you're reaching out
to a huge prolific music supervisor likeSue Jacobs, and you can see on
(06:19):
IMDb she's working on a dark moodyfilm, do not send her happy stuff.
Send her your dark moody options.Or if you're working with the trailer
House, look at what they've doneto date at the general gist and send
them stuff that's up there. Alley, you want to treat these people like
humans because we get reach out toall the time. I mean, my
(06:42):
inbox is constantly full. So it'sreally respecting our time. It's making sure
that you're reaching out and you're usingthat one reach out to really like let
them know. I know who youare, I know what you're doing,
I know the vibe that you're lookingfor, and this is me. And
then on top of that, let'ssay you get the call you're like,
(07:03):
Mark, I'm going to use yourwork, get me the stems to this
track. You need to do somepre production here. You need to make
sure that you have all of yourtracks stemmed out with splits as far as
all of those individual instruments. Youknow, I know that being in one
(07:24):
room can really have like a vibe, but it's always good when we have
control with mixing or with like syncwhere we can remove the drums or remove
that one vocal or whatever. Sohaving those splits, I'm saying splits,
those stems isolated is really good.And then going to the splits aspect,
we talked about this in your class, Chris. When you're done recording something
(07:45):
at the conception of this creative masterpiece, have a split sheet ready where you're
signing, Okay, Johnny gets fiftypercent, Martha gets fifty percent or whatever,
Mary gets ten percent or however youguys deem worthy at that time.
Because if I'm fast forward reaching outto Mark and saying, Mark, I
(08:07):
need this track, I need thestems, and Marked like, oh,
how are we going to work on? Like who has the percentages and everything?
Let me try to find the stems. No, have all that ready
because we don't have any time.We might have an hour to get your
stems and know that you have yourstuff organized and together. So yes,
(08:28):
I would say, aside from justreaching out and making those connections and developing
those relationships, have everything incredibly organized, even on your phone, like have
Google Drive on your phone with linksthat you can send to people right away
where you're just kind of setting itup right. We put everything out into
the universe and sometimes we manifest somethings. So having everything set up and
(08:50):
put in place and really really cleanand tight. Everything's labeled, Everything has
metadata embedded into it with your contactinformation, the name of it. Do
not put track one, like whatare we going to do with that?
We don't know the name of it, we don't know who owns it.
So like put your name embedded withthe made it metadata in the track,
(09:13):
make sure you have every all ofyour elements together that you can send very
quickly, and we will be friends. Yeah. I think that what you're
saying is I mean, obviously allof those things are probably new to a
lot of our listeners. But whatyou're saying is be professional if you want
this to be your job, ifyou want to actually make an income and
(09:33):
bring value. Like we said,boy, there's there's just these are habits
to build, are they not?I mean people that somebody was saying that,
you know, oh, the syncworld is so oversaturated with music,
just like Spotify. It just getsso many new tracks every day. But
if you look at the stats,like it still is a small percentage they
get placed because they have this stuff, right, they have the stuff you
(09:56):
just said organized total. Can weswitch gears a little bit and talk about
when someone is just starting out.We have had a few of our listeners
ask about I don't know where tostart with my tracks. I'm recording in
my home studio for example. Ithink they're good enough. And we just
(10:18):
talked a little bit about the organizationend of things, but what would you
what would you tell them are someof the things that they're going to need
to start doing from the very beginningas they as they begin. I mean
we talked about disco, which I'ma big advocate of disco too, getting
their tracks onto there, doing themetadata, But what what do they need
(10:39):
to make sure with the music itselfthat the quality is at a certain level.
How do they kind of know whatwhere the level they're at? Sure?
So I mean I think investing insome really good equipment is and again
this is all acknowledging that, likea lot of people are privileged and they
have access to that and some peopledon't. I would say, get as
(11:01):
good of equipment as you can,buy as many sample packs as you can,
like do everything you can with isas high as integrity as possible.
If you're listening to it and you'relike, I don't know if this is
good. It might not be.It might not be, But I would
(11:22):
reach out again to your network andhave people even if you're a student in
college or high school, you know, everybody that's really invested in music around
you is probably going to keep doingit. So keep those connections and if
even if you're in your forties,and you're like, I just laid down
a track, I don't know ifit is good. Reach out to people
(11:43):
that you trust and have them giveyou feedback on it. I would say
just investing in the time. It'stricky because I'm not a songwriter and I'm
not I don't make traps, soI can can't give you the actual technical
specifics for what you need to makeit sound good. But I know that
(12:07):
there are amazing sample libraries out therelike Splice or sample packs that you can
get things from that are just veryworth it. Yeah, I think it's
like that feedback, that feedback conversation. So there is something that Chris and
I met at, which is theDuranger Songwriters Expo, where they have a
(12:31):
bunch of music supervisors A and Rpeople for labels like big well renowned,
big names songwriters that can give youhonest feedback on your work. And it
actually that's how Megan Trainer was discovered. Like, they can also sync your
tracks too if they like I knowone track I've heard at the last Songwriters
(12:56):
Expo, I have not stopped listeningto it. It's just so good.
So it's getting bigger people on yourradar that can give you honest feedback,
and I get down very granular andthe production quality, Like I think,
you know, don't just do thisin your bedroom, Like get somebody that
(13:18):
knows that has a soundproof studio,rent some studio space, you know,
get a proper engineer in there thatcan record it. I would also say,
if you're recording it, like havean instrumental version as well, because
instrumental versions are great for us becausesometimes we can't always use vocals and lyrics.
And then there was one other thingI had mentioned in class, which
(13:39):
was, after you're done creating yourtrack, it's done, I want you
to go back to it because Idon't want it to interfere with the actual
creative process. And I want youto do an instrumental version with vocal lease,
which means it's just vocal textures usanas, even if it's like punk rock
screaming actual language lyrics. And thereason for that is because they can pull
(14:05):
in and out vocal textures, stillfeels like a song it might be internationally
used, might not have everybody speakin English or Spanish or any language that
you're actually singing with. So havingthose three options original with vocals isolated stems,
instrumental instrumental no vocals, isolated stems, and then vocalise. That's that's
(14:28):
the moneymaker. But also like,don't just be like I'm gonna go in
a room and record, like,do a ton of research as far as
the music that you like. Listento the tone of your voice. Does
it sound like Maggie Rogers? Okay, Like what's she doing? Let me
analyze what she's doing. Maybe Ican do it differently, maybe I can
(14:50):
do a better find inspiration from it, or you know, again, collaborating
with different people that maybe are ata higher educated level or I shouldn't say
educated, but like maybe they've beenin the music world longer, or they
learned a little quicker. Grabbing andpulling from people like that and collaborating and
having these conversations is really what's goingto elevate you, because you're going to
(15:13):
pick up all those pieces and belike, all right, I spoke with
Dnay, she knows what's up.I'm going to make something badass now totally,
you know. So I think it'syeah, I think it's less of
like what do you do when yougo in the studio versus how do you
come prepared. How do you getall those pieces? Yeah, so what
would you say some of the stylesthat you're seeing placed the most or things
(15:37):
or maybe or answer what styles areneeded the most that could be filled with
some of the music from our listeners. I know a lot of us don't
even see commercials anymore unless it's likeHulu as like a mandatory one minute and
thirty commercial second commercial that you haveto watch four times in a row.
(15:58):
But you can look at pre rollon YouTube. You can look at different
commercial spots if you're looking up likeadvertising awards. But I would say the
most syncs that I've been seeing thatI've been working on or with tech companies,
So that's Google, that's Apple,that's Samsung and so on, even
(16:18):
you. I mean Target is nota tech company, but Target and Old
maybe are always thinking. Same withWalmart as well. So you've got these
these these brands that are really investingin music licensing versus composition and with tech.
I mean, they're constantly releasing differentthings all the time. So I
(16:40):
would take a look at Apple andGoogle, for instance, and really analyze
that those vibes. Apple's range isamazing. I am so impressed by their
team and the creative endeavors and challengesthat they take on like it is how
always. That's That's one of thereasons I got into music supervision is because
of the old school iPod Apple Yes, with just the colorful silhouettes of people
(17:07):
like I was like, what isthis song? You know? And it
really changed the industry, like itreally did, So that is an incredibly
amazing benchmark to look at a lotof it's fast paced pop, electronic sometimes
hip hop infused. Those are thegoing to be the biggest sinks with some
really like punchy vocals. I wouldsay rock is probably the next genre where
(17:33):
you got like a little more edgeand you're going to reach out to more
edgy brands for that. So maybeFans is a cool one for you,
or Levi's converse, you know,those types of brands that you feel like
it does have an edge to it. And then yeah, hip hop has
been great. You know, ifyou've got some really cool vocals on there,
like that can sell to a lotof brands like Nike or any athletic
(17:57):
brand in general. You'd be surpriseda lot of alcohol and liquor companies will
license those types of styles as well. And then for more beautiful songwriting,
which I know we see a lotof, I would look at more of
the brands that tell stories. Iremember there was like an extra Gum commercial
(18:18):
that told an entire love story onlittle gum wrappers, and that was an
amazing spot for me. You know, Like, there's so I have so
much respect for advertising. It's it'sso hard to fit a story in a
thirty seconds, you know, ButI would look at those brands, you
know, family brands that your familyuses, or like I remember working on
(18:41):
a Carrie Goold commercial for butter andit was all about the holidays and how
you can savor those moments with yourfamily, and so like, if you
are more of a songwriter, youknow, more melodic, more soulful or
tender, I would look at brandsthat kind of enhance that. Yeah,
it can be hard to dig unlessyou have the tools to find out which
(19:03):
brands work with certain agencies and thenfrom there who picks out the music for
those agencies? Right, But ifyou're looking at really big advertising agencies like
Droga five, you're going to knowthat that has comes with a ton of
edge and things that are just likealways new. If you're looking at Sachi
and Sachi, that's going to bemore family brands where it has, you
(19:27):
know, brands that might you know, stick out to you. So I
would I would do your research andtry to find on different websites what brand
goes with what agency, and thengo backwards from there and find the person
that's working on that music. Sometimesthere are music supervisors in house at agencies
and they are they're even more ofa decision maker than I am, Like
(19:51):
I need to send my tracks tothem for them to pick, and that's
hard to do too, because they'rereally in the trenches and I've been the
agency side and it is not easy. But you know, you are very
much closer to the brand, soyou can be that steward for them.
So I think a lot of timesit's just a place to get started.
You know, a lot a lotof people just want to know where do
(20:11):
they get started. And doing thisresearch is such a great place in my
mind too, because you have youcan't fight who you are as an artists,
right, you can't fight your soundtoo much. You have to do
what you love, what's calling you. So it's a great idea. I
love that idea of starting there andwith the brands that maybe already speak to
you. I mean, I loveall those Apple commercials too, Like I
(20:33):
did find a few artists that Ilistened to all the time now from those
commercials, and I know, Iknow that the same has happened with the
beginning of some intros on shows,right, That's how I first heard the
Fray. I remember it was onAnatomy. Yeah, so yeah, Gray's
Anatomy was a great one. Andthe oc that was Clutch Yeah Heartbeats with
by Jose Gonzalez, which was coveredby the Knife or not sorry the Knife
(20:57):
covered it? Did it? Andthen I was taking about Gonzale has covered
it? But no, like mancovers are really cool too, actually,
like reinventing a cover. Daniella Andradeis amazing at doing these, like reinventing
these pop tracks and making them theseacoustic covers. She's been doing it.
(21:18):
I first heard her when she coveredCrazy by Narles Barkley. But like finding
out you know, like different waysto approach done songs, like recreate them,
cover them and reimagine them. Thatis such a cool way to get
into if you're like, whoa,I've never heard a take on this and
you got goose bumps. You knowthat's a great thing too. I would
(21:40):
say one other things, just peddlingback to people genres. I would tell
people to keep pushing themselves out oftheir comfort zones. If what you do
right now is songwriting and it's notsticking, try a different genre, or
if you're bored, try a differentgenre. Like see what else you can
do. Because the more of acatalog that you have, the more that
we have to choose from, right, and the more that you can make
(22:03):
money and have fine joy in whatyou're doing. So like, really analyze
and research these different genres, giveback to the source of who created the
genre, and see what you cando differently. Yeah. Yeah, And
that idea of doing other people's songs, I think that's another good way to
find your sound is because you naturallychange the way that the songs performed because
(22:26):
of who you are, right.And I don't think a lot of people
think about the fact that they canplace those They think, well, this
isn't my song, I can't placeit. But if they get it cleared
with the Harry Fox agency and theydo the right channels, they just aren't
getting one hundred percent right, becausethey're not going to get the songwriting rights.
The publishing, yeah, the publishing. Yeah. So I mean I
(22:47):
even spoke with somebody who is friendswith the band that he covered, like
I don't know, friends is aloose term for him, but he has
a relationship where he knows that theywould clear his version creatively, because that
is one other thing is you haveto have the rights holder approve creatively that
they want this to go out eventhough it's their song originally, right,
(23:07):
So you do have to keep thatin mind. You know, if it's
a punk version of I don't know, yeah sweet Home, you might not
get it cleared by the original rightsholders who might just be a throwaway.
But it's also just it's showing yourvariety and diversity and a creative approach to
things too. Like if I canget in an artist's head and understand how
(23:30):
they approach things and like it's donewell, then I might think of them
for something else. Yeah, wedon't want to take up too much your
time, So I just have twomore questions, if that's okay. The
first one, I'd like to kindof get your idea we talk about AI.
We're actually working on an AI episoderight now. So this is a
question I wanted to ask you,what do you think is going to change
(23:53):
in the near future with AI andsync AI. I swear AI is really
frustrating because it's literally taking our jobsout of our hands. I know they
talked about this with the internet,with like print magazines. It is really
(24:14):
scary. I like that caught thatversion of the Weekend with Drake, Like
that was weird. Yeah, Idon't know what to think about AI right
now. Like I know, asa we'll just say a buyer that that
is like a resource for me,But I know, loyalty wise, like
(24:36):
I'm in it for the humans.Yes, I don't want the machines to
win. If you're asking me ifI approve of AI, the answers no,
I think it's messed up, andI think that you know, there's
there's imperfections, there's beautiful imperfections,and that cannot be recreated by a machine.
(24:57):
There's just not humanity. And Iknow it's not going to go away.
And I know I'm going to soundlike a dinosaur and about a like
six months, but I just Idon't want to lean into AI personally because
I do want to continue to supportartists totally. Well, that's what we
want to hear for sure, peoplelike you say and stuff like that.
It's really important. Yeah, Ican't speak on a half of everybody,
(25:19):
but that's for me. Yeah,And I also appreciate the dominance that we've
not let Dave basically get a wordin. I'm sorry, Dave. We've
prevented a lot of editing on myend the benefit of this podcast, believe
me so. So. Our lastquestion for today is if you have any
(25:41):
books specifically about maybe getting into syncthat you'd recommend our listeners to check out
to get more information All you needto know about the music business. By
Donald Passman. I happen to knowhis son Jordan. He's lovely Return of
the Hustle, The Art of Marketingwith music, best damn hip Hop writing.
(26:03):
This is another one which is interesting, Great myths of popular psychology.
I think psychology is really important inour world and learning how to work it.
And then there's another like book seriesthirty three in a third where they
really hone in on one album andthere's tons of different albums, different books,
(26:26):
but I love reading that and justunderstanding the artist process and also listening
to the podcast Song Explorer is abig one for me, which is a
bunch of other podcasts out there thatare just great for that. But I
would say, if you're only goingto buy one book, I would say
it would be All You Need toKnow About the Music Business by Donald Passman.
Excellent. Yep, I've read.I've read half of that one.
(26:49):
That one's like one of the oneswhere I have to open up when I
need something. Yeah, it's likea nick Cyclopedia. It's big. Yes,
all right, Jenny, thank youvery much for your time. It
was great. Thank you so muchfor having me. It's a pleasure just
to have you on here and learnso much more than I did before.
So thank you, thanks, thankyou. When she first started discussing ways
(27:15):
to increase your value in SINCA reallywas hoping just like how much money you
had to bribe people, and Ithought that would have just made the things
a lot easier. Yeah, Iwonder how much of that actually goes on.
You know, in our last episodewe talk about relationships and networking and
if you're a top of the mindof people that are making them decisions and
(27:38):
you have good relationships with them andputting out you know, good music.
I think that's what wins overall,right, and the other end of it,
which is what we're talking about mostlyhere today. Organization is such a
critical part of being valuable. Itis not going to work out for you.
If you can't be organized in theSINC business, it's you're going to
(28:00):
end up losing way more opportunities andin the end, people will stop coming
to you, just sheerly, basedon they don't feel confident they can get
what they need quick enough. WhenI took Deaphanie Lewis's class last year,
she couldn't stress enough how important itwas to have everything organized because she would
be traveling and need to get everythingover to the person in charge within minutes
(28:25):
and had to send a link onetwo three, not looking for everything or
having to get people to sign contractsabout splits. Everything just had to be
in order, ready to go.And as Benjamin Franklin says, put all
your stuff into zip folders. Idon't even think the zipper was invented yet,
let alone the zip folder. Whatdid you say your favorite your favorite
(28:48):
drive was I'm a dropbox man,But you mentioned something else. No,
I mean, I I like dropboxthat we use that a lot, right
for this business, but I usedisco for my sinks. Yeah, and
that's that's becoming an industry standard,you know, created by sync musicians,
really for musicians, but it's reallyalso for music supervisors. It's it's for
(29:12):
them, it's for their sanity,it's for the process, you know,
they've really figured out how to makeThey always say that you have a great
idea when you can take what otherpeople are already doing and make it faster
or more efficient. Right, that'sthe idea of making a good business product,
and that's definitely what disco is.But doing your research and understanding who
you're sending your stuff to. Thatetiquette of communication. She've touched on that
(29:34):
about making yourself more valuable. Noone wants to be cold called, and
haven't you have no idea who you'reeven cold calling? Right? This business
is a people business, right,as we've said, and it's really important
that you treat those people that you'rereaching out to with respect. I think
of it like you wouldn't go intoa job interview without knowing anything about the
(29:56):
job you're applying for, right,That's essentially what you're doing every time you
reach out to these people is ajob interview essentially for a little mini job,
right, And so it's really importantthat you get into the habit of
doing the research before you send thatemail. And as she said, it's
worth reiterating, do not send anattachment in your email. If you're listening
(30:19):
to this and you're trying to findthe actual tips on how to become more
valuable, there's just so many inthe air. It's almost impossible to not
find a place to start. Andthat's that's really important that you just pick
the one that you identify as beingyour biggest weakness or the one that you're
most interested in tackling right now.Don't try to do them all at once.
(30:41):
This is this is why we takeour time with preparing, with organizing,
with getting ready for the opportunity.And that means getting those stems and
those splits and the metadata all enteredin, having the multiple versions of the
tracks, having the E version thee'se vocal ease, right. If you
haven't ever done that on a track, it's actually really fun to go back
over your song in your fear ofthe vocalist and just seeing ease. It's
(31:06):
quite entertaining. You know, there'sa lot of fun things here too,
at least I find them fun,but it's not as scary once you start.
So my whole thing is this,you find one of these things that
you need to work on and getstarted on the process if this is something
you want to get into. Speakingof scary, you know you brought up
the question of AI, and I'vebeen doing a lot with AI on mid
(31:29):
journey. As far as text toimages, it is unreal what I would
have to pay for a head abovebranding. There's logos I need, there's
certain ideas that I just want togive to my clients right away, and
I can just type it in andhave it within seconds and cost nothing.
There are already apps that you cantext to music exactly what you're looking for
(31:55):
for a scene and type that inand have that license free ready to go
right out of the gates. Sowhen you were bringing up organization earlier,
how much more organized can you bethan AI? So you definitely have to
be on top of your game.She mentioned having you know your socials up
to date in your numbers there,which I also thought was interesting compared to
(32:17):
how AI won't be able to bringin numbers so as musicians have more of
a fan base and they let theirfan base know that I got, you
know, placement in this episode ofX, Y and Z or this is
coming up into a new movie isgoing to be helpful with advertising. AI
(32:37):
won't be able to offer that,so that was one positive. I thought,
you know, the way around havingthose networks and relationships with the person
that's picking the music, they mightgo with you because it would boost that
advertising aspect. Our access step todayis to download our MTJ music catalog.
Start organizing your material so that youcan be more ready when those sync opportunities
(33:00):
come. This will be an easyway for you to start to figure out
what information you do and don't have, what you need to do next.
It's a kind of a blanket wayto get all of your material put into
one place with all the information needed. We know that your time is valuable
and we appreciate you spending this timewith us and being a part of this
community. It's our hope that youfeel that sense of community here and are
(33:21):
having a great time with us andhelp us spread the word. If you
want to get hold of us,what's the best way to do that?
You can reach us at musicians tipjar at gmail, or check out our
website and musicians dot com. Ifyou want to learn more about Jenny,
type intername at musicians dot com andwe have a whole page dedicated for of
course. If you find this informationuseful, please rate and subscribe to this
(33:43):
podcast, and as always, thankyou for joining us. And remember there
is already enough for everyone, Youjust need to know how to get it.
Until next time on behalf of DaveTampkin and myself, stay happy,
healthy and wealthy. Music is andalways will be the secret code to media
heartstrings. Might as well get yourtracks in the game this Musicians Tip,
(34:05):
Joe, Oh Somebody. Nothing onthis show should be considered specific, personal
or professional advice. Please consultant appropriatetax, legal professional for individualized advice.
Individual results are not guaranteed, andall discuss strategies have the potential for profit.
(34:29):
Or ask those operating on behalf ofMusicians Charged or else exclusive
Welcome to the show that explores themethods and strategies on rocking the financial side
of your music business. With overforty years combined experience, here are your
host Chris Webb and Dave Dampkin.Welcome to Musicians tamp John when we talk
about musicians and money, but webelieve adding value is the secret code to
(00:21):
making money. I'm Chris Webb,joined by my co host and the guy
who loves to talk in code,Dave Tampkin. Thanks for having me back,
Chris Webb. It's not so muchtalking in code as much as it
is just assuming you can read mymind and I start halfway through what I
want to say because I've already thoughtit, and then you have me start
(00:42):
over from the beginning, and thenit just gets all jumpled. So how
do you increase your value? Howdo you know what is valuable? We
want to help you crack the codeto the sync world. We dive into
all things music licensing and discuss solutionsto these questions and much more with our
guest Jenny Armand. Our quote todaycomes from Benjamin Franklin. For every minute
(01:07):
spent in organizing an hour is earned. I only let quotes from before the
year nineteen fifty two. That issomething very unique to you, my friend.
(01:32):
And they're great quotes. You know. It's just a reminder that we
knew everything we needed to know onehundred year we still just haven't figured out
to apply it. This week's nonprofitis Sweet Relief Musicians Fund, a nonprofit
organization focused on providing financial aid tomusicians facing illness, disability, or AIDE
(01:56):
related challenges. They offer assistance tocareer musicians who are struggling to make ends
meet. They have tons of resourcesfor music industry professionals, providing emergency financial
assistance and other forms of support ofcareer musicians, road crew, and anyone
who makes the majority of their incomein the music business. Learn more at
Sweet Relief dot org. All Right, today we conclude our sit down with
(02:16):
executive creative producer and music supervisor forSqueaky Clean, Jenny Rma. So,
(02:36):
what would be some ways that anartists could increase their value then as they
get into the sync world. Ithink collaborating with larger artists is a really
really good move. If you're touring, which is a great moneymaker, ish
try getting on the bill with reallywell known bands try like helping leak one
(02:58):
of their tracks and saying, hey, we will promote one of your tracks
if you can promote one of ours. You know, again, if they're
really big, they might not care. But it's developing those relationships and that's
going to be a common threat inthis conversation because these relationships, for one,
have helped me move forward in mycareer. They have supported me in
my life. When I was teaching, I was getting like I was getting
(03:23):
the commission from projects I had pulledin that was helping fund that side of
what I was doing at the time. So it's like, hold onto those
connections so much and develop them.And if you can get in the same
room with someone at Mumford and Sons, do it. Drop whatever you're doing
and develop that relationship. You know, maybe your manager might manage some bigger
(03:45):
bands, or maybe your sink agentlike Zinc. You know, for instances,
a great sink agent like maybe Zinchas some people on their roster.
Okay, I'm going to reach outto ten people today that are really cool
bands, and I'm going to tryto get to know because we're on the
same roster, or maybe I'm analumni of Berkeley, and they are too,
I'm going to reach out to thisperson. So it's really trying different
(04:08):
ways to get in the same roomor have a community a conversation with the
people that can help elevate you andhelp you step higher. I love that
we talk about the community. It'simportance of community in every way, right,
and that's I mean. I lovethat it translates straight into the sync
world too, No surprises there.But it's also important for people to remember
(04:30):
that everything, everything that they writeto these people matters. Right. We
talked a little bit about etiquette whenyou were in the class, about how
to approach people like supervisors and otherpeople that you want to have connections with.
Let's talk a little bit about whatyou like. Some major points about
etiquette. Things that are big nonos in the music sync world. Sure,
(04:51):
first thing, do not ever attacha track to your email. It
will shut down our emails. Iget so many emails per day. If
you're attaching all of your tracks yourcollection, or even just one track like
it will gunk up my email.So make do yourself a favor and make
(05:13):
a log in and a user profileon we transfer orbox dot com or dropbox
or My favorite is disco DSCO justspelled like that. A lot of music
supervisors I don't have this, buta lot of music supervisors in the big
world will have their own link totheir library that you can put your tracks
(05:34):
in there, just like upload themand then they will look through them.
So that is a really good moveby sending a link in an email.
Also, please please please do yourresearch on us. If I working at
Squeaky Clean, you're looking at SqueakyClean's website and you're seeing, Okay,
(05:54):
they do hip hop, electronic,a lot of rock, but I'm going
to send in some polka. Thereis nothing I can do with that,
probably unless maybe one sin a bluemoon like, I'll have somebody reach out
for that. But like, knowyour audience. So if you're reaching out
to a huge prolific music supervisor likeSue Jacobs, and you can see on
(06:19):
IMDb she's working on a dark moodyfilm, do not send her happy stuff.
Send her your dark moody options.Or if you're working with the trailer
House, look at what they've doneto date at the general gist and send
them stuff that's up there. Alley, you want to treat these people like
humans because we get reach out toall the time. I mean, my
(06:42):
inbox is constantly full. So it'sreally respecting our time. It's making sure
that you're reaching out and you're usingthat one reach out to really like let
them know. I know who youare, I know what you're doing,
I know the vibe that you're lookingfor, and this is me. And
then on top of that, let'ssay you get the call you're like,
(07:03):
Mark, I'm going to use yourwork, get me the stems to this
track. You need to do somepre production here. You need to make
sure that you have all of yourtracks stemmed out with splits as far as
all of those individual instruments. Youknow, I know that being in one
(07:24):
room can really have like a vibe, but it's always good when we have
control with mixing or with like syncwhere we can remove the drums or remove
that one vocal or whatever. Sohaving those splits, I'm saying splits,
those stems isolated is really good.And then going to the splits aspect,
we talked about this in your class, Chris. When you're done recording something
(07:45):
at the conception of this creative masterpiece, have a split sheet ready where you're
signing, Okay, Johnny gets fiftypercent, Martha gets fifty percent or whatever,
Mary gets ten percent or however youguys deem worthy at that time.
Because if I'm fast forward reaching outto Mark and saying, Mark, I
(08:07):
need this track, I need thestems, and Marked like, oh,
how are we going to work on? Like who has the percentages and everything?
Let me try to find the stems. No, have all that ready
because we don't have any time.We might have an hour to get your
stems and know that you have yourstuff organized and together. So yes,
(08:28):
I would say, aside from justreaching out and making those connections and developing
those relationships, have everything incredibly organized, even on your phone, like have
Google Drive on your phone with linksthat you can send to people right away
where you're just kind of setting itup right. We put everything out into
the universe and sometimes we manifest somethings. So having everything set up and
(08:50):
put in place and really really cleanand tight. Everything's labeled, Everything has
metadata embedded into it with your contactinformation, the name of it. Do
not put track one, like whatare we going to do with that?
We don't know the name of it, we don't know who owns it.
So like put your name embedded withthe made it metadata in the track,
(09:13):
make sure you have every all ofyour elements together that you can send very
quickly, and we will be friends. Yeah. I think that what you're
saying is I mean, obviously allof those things are probably new to a
lot of our listeners. But whatyou're saying is be professional if you want
this to be your job, ifyou want to actually make an income and
(09:33):
bring value. Like we said,boy, there's there's just these are habits
to build, are they not?I mean people that somebody was saying that,
you know, oh, the syncworld is so oversaturated with music,
just like Spotify. It just getsso many new tracks every day. But
if you look at the stats,like it still is a small percentage they
get placed because they have this stuff, right, they have the stuff you
(09:56):
just said organized total. Can weswitch gears a little bit and talk about
when someone is just starting out.We have had a few of our listeners
ask about I don't know where tostart with my tracks. I'm recording in
my home studio for example. Ithink they're good enough. And we just
(10:18):
talked a little bit about the organizationend of things, but what would you
what would you tell them are someof the things that they're going to need
to start doing from the very beginningas they as they begin. I mean
we talked about disco, which I'ma big advocate of disco too, getting
their tracks onto there, doing themetadata, But what what do they need
(10:39):
to make sure with the music itselfthat the quality is at a certain level.
How do they kind of know whatwhere the level they're at? Sure?
So I mean I think investing insome really good equipment is and again
this is all acknowledging that, likea lot of people are privileged and they
have access to that and some peopledon't. I would say, get as
(11:01):
good of equipment as you can,buy as many sample packs as you can,
like do everything you can with isas high as integrity as possible.
If you're listening to it and you'relike, I don't know if this is
good. It might not be.It might not be, But I would
(11:22):
reach out again to your network andhave people even if you're a student in
college or high school, you know, everybody that's really invested in music around
you is probably going to keep doingit. So keep those connections and if
even if you're in your forties,and you're like, I just laid down
a track, I don't know ifit is good. Reach out to people
(11:43):
that you trust and have them giveyou feedback on it. I would say
just investing in the time. It'stricky because I'm not a songwriter and I'm
not I don't make traps, soI can can't give you the actual technical
specifics for what you need to makeit sound good. But I know that
(12:07):
there are amazing sample libraries out therelike Splice or sample packs that you can
get things from that are just veryworth it. Yeah, I think it's
like that feedback, that feedback conversation. So there is something that Chris and
I met at, which is theDuranger Songwriters Expo, where they have a
(12:31):
bunch of music supervisors A and Rpeople for labels like big well renowned,
big names songwriters that can give youhonest feedback on your work. And it
actually that's how Megan Trainer was discovered. Like, they can also sync your
tracks too if they like I knowone track I've heard at the last Songwriters
(12:56):
Expo, I have not stopped listeningto it. It's just so good.
So it's getting bigger people on yourradar that can give you honest feedback,
and I get down very granular andthe production quality, Like I think,
you know, don't just do thisin your bedroom, Like get somebody that
(13:18):
knows that has a soundproof studio,rent some studio space, you know,
get a proper engineer in there thatcan record it. I would also say,
if you're recording it, like havean instrumental version as well, because
instrumental versions are great for us becausesometimes we can't always use vocals and lyrics.
And then there was one other thingI had mentioned in class, which
(13:39):
was, after you're done creating yourtrack, it's done, I want you
to go back to it because Idon't want it to interfere with the actual
creative process. And I want youto do an instrumental version with vocal lease,
which means it's just vocal textures usanas, even if it's like punk rock
screaming actual language lyrics. And thereason for that is because they can pull
(14:05):
in and out vocal textures, stillfeels like a song it might be internationally
used, might not have everybody speakin English or Spanish or any language that
you're actually singing with. So havingthose three options original with vocals isolated stems,
instrumental instrumental no vocals, isolated stems, and then vocalise. That's that's
(14:28):
the moneymaker. But also like,don't just be like I'm gonna go in
a room and record, like,do a ton of research as far as
the music that you like. Listento the tone of your voice. Does
it sound like Maggie Rogers? Okay, Like what's she doing? Let me
analyze what she's doing. Maybe Ican do it differently, maybe I can
(14:50):
do a better find inspiration from it, or you know, again, collaborating
with different people that maybe are ata higher educated level or I shouldn't say
educated, but like maybe they've beenin the music world longer, or they
learned a little quicker. Grabbing andpulling from people like that and collaborating and
having these conversations is really what's goingto elevate you, because you're going to
(15:13):
pick up all those pieces and belike, all right, I spoke with
Dnay, she knows what's up.I'm going to make something badass now totally,
you know. So I think it'syeah, I think it's less of
like what do you do when yougo in the studio versus how do you
come prepared. How do you getall those pieces? Yeah, so what
would you say some of the stylesthat you're seeing placed the most or things
(15:37):
or maybe or answer what styles areneeded the most that could be filled with
some of the music from our listeners. I know a lot of us don't
even see commercials anymore unless it's likeHulu as like a mandatory one minute and
thirty commercial second commercial that you haveto watch four times in a row.
(15:58):
But you can look at pre rollon YouTube. You can look at different
commercial spots if you're looking up likeadvertising awards. But I would say the
most syncs that I've been seeing thatI've been working on or with tech companies,
So that's Google, that's Apple,that's Samsung and so on, even
(16:18):
you. I mean Target is nota tech company, but Target and Old
maybe are always thinking. Same withWalmart as well. So you've got these
these these brands that are really investingin music licensing versus composition and with tech.
I mean, they're constantly releasing differentthings all the time. So I
(16:40):
would take a look at Apple andGoogle, for instance, and really analyze
that those vibes. Apple's range isamazing. I am so impressed by their
team and the creative endeavors and challengesthat they take on like it is how
always. That's That's one of thereasons I got into music supervision is because
of the old school iPod Apple Yes, with just the colorful silhouettes of people
(17:07):
like I was like, what isthis song? You know? And it
really changed the industry, like itreally did, So that is an incredibly
amazing benchmark to look at a lotof it's fast paced pop, electronic sometimes
hip hop infused. Those are thegoing to be the biggest sinks with some
really like punchy vocals. I wouldsay rock is probably the next genre where
(17:33):
you got like a little more edgeand you're going to reach out to more
edgy brands for that. So maybeFans is a cool one for you,
or Levi's converse, you know,those types of brands that you feel like
it does have an edge to it. And then yeah, hip hop has
been great. You know, ifyou've got some really cool vocals on there,
like that can sell to a lotof brands like Nike or any athletic
(17:57):
brand in general. You'd be surpriseda lot of alcohol and liquor companies will
license those types of styles as well. And then for more beautiful songwriting,
which I know we see a lotof, I would look at more of
the brands that tell stories. Iremember there was like an extra Gum commercial
(18:18):
that told an entire love story onlittle gum wrappers, and that was an
amazing spot for me. You know, Like, there's so I have so
much respect for advertising. It's it'sso hard to fit a story in a
thirty seconds, you know, ButI would look at those brands, you
know, family brands that your familyuses, or like I remember working on
(18:41):
a Carrie Goold commercial for butter andit was all about the holidays and how
you can savor those moments with yourfamily, and so like, if you
are more of a songwriter, youknow, more melodic, more soulful or
tender, I would look at brandsthat kind of enhance that. Yeah,
it can be hard to dig unlessyou have the tools to find out which
(19:03):
brands work with certain agencies and thenfrom there who picks out the music for
those agencies? Right, But ifyou're looking at really big advertising agencies like
Droga five, you're going to knowthat that has comes with a ton of
edge and things that are just likealways new. If you're looking at Sachi
and Sachi, that's going to bemore family brands where it has, you
(19:27):
know, brands that might you know, stick out to you. So I
would I would do your research andtry to find on different websites what brand
goes with what agency, and thengo backwards from there and find the person
that's working on that music. Sometimesthere are music supervisors in house at agencies
and they are they're even more ofa decision maker than I am, Like
(19:51):
I need to send my tracks tothem for them to pick, and that's
hard to do too, because they'rereally in the trenches and I've been the
agency side and it is not easy. But you know, you are very
much closer to the brand, soyou can be that steward for them.
So I think a lot of timesit's just a place to get started.
You know, a lot a lotof people just want to know where do
(20:11):
they get started. And doing thisresearch is such a great place in my
mind too, because you have youcan't fight who you are as an artists,
right, you can't fight your soundtoo much. You have to do
what you love, what's calling you. So it's a great idea. I
love that idea of starting there andwith the brands that maybe already speak to
you. I mean, I loveall those Apple commercials too, Like I
(20:33):
did find a few artists that Ilistened to all the time now from those
commercials, and I know, Iknow that the same has happened with the
beginning of some intros on shows,right, That's how I first heard the
Fray. I remember it was onAnatomy. Yeah, so yeah, Gray's
Anatomy was a great one. Andthe oc that was Clutch Yeah Heartbeats with
by Jose Gonzalez, which was coveredby the Knife or not sorry the Knife
(20:57):
covered it? Did it? Andthen I was taking about Gonzale has covered
it? But no, like mancovers are really cool too, actually,
like reinventing a cover. Daniella Andradeis amazing at doing these, like reinventing
these pop tracks and making them theseacoustic covers. She's been doing it.
(21:18):
I first heard her when she coveredCrazy by Narles Barkley. But like finding
out you know, like different waysto approach done songs, like recreate them,
cover them and reimagine them. Thatis such a cool way to get
into if you're like, whoa,I've never heard a take on this and
you got goose bumps. You knowthat's a great thing too. I would
(21:40):
say one other things, just peddlingback to people genres. I would tell
people to keep pushing themselves out oftheir comfort zones. If what you do
right now is songwriting and it's notsticking, try a different genre, or
if you're bored, try a differentgenre. Like see what else you can
do. Because the more of acatalog that you have, the more that
we have to choose from, right, and the more that you can make
(22:03):
money and have fine joy in whatyou're doing. So like, really analyze
and research these different genres, giveback to the source of who created the
genre, and see what you cando differently. Yeah. Yeah, And
that idea of doing other people's songs, I think that's another good way to
find your sound is because you naturallychange the way that the songs performed because
(22:26):
of who you are, right.And I don't think a lot of people
think about the fact that they canplace those They think, well, this
isn't my song, I can't placeit. But if they get it cleared
with the Harry Fox agency and theydo the right channels, they just aren't
getting one hundred percent right, becausethey're not going to get the songwriting rights.
The publishing, yeah, the publishing. Yeah. So I mean I
(22:47):
even spoke with somebody who is friendswith the band that he covered, like
I don't know, friends is aloose term for him, but he has
a relationship where he knows that theywould clear his version creatively, because that
is one other thing is you haveto have the rights holder approve creatively that
they want this to go out eventhough it's their song originally, right,
(23:07):
So you do have to keep thatin mind. You know, if it's
a punk version of I don't know, yeah sweet Home, you might not
get it cleared by the original rightsholders who might just be a throwaway.
But it's also just it's showing yourvariety and diversity and a creative approach to
things too. Like if I canget in an artist's head and understand how
(23:30):
they approach things and like it's donewell, then I might think of them
for something else. Yeah, wedon't want to take up too much your
time, So I just have twomore questions, if that's okay. The
first one, I'd like to kindof get your idea we talk about AI.
We're actually working on an AI episoderight now. So this is a
question I wanted to ask you,what do you think is going to change
(23:53):
in the near future with AI andsync AI. I swear AI is really
frustrating because it's literally taking our jobsout of our hands. I know they
talked about this with the internet,with like print magazines. It is really
(24:14):
scary. I like that caught thatversion of the Weekend with Drake, Like
that was weird. Yeah, Idon't know what to think about AI right
now. Like I know, asa we'll just say a buyer that that
is like a resource for me,But I know, loyalty wise, like
(24:36):
I'm in it for the humans.Yes, I don't want the machines to
win. If you're asking me ifI approve of AI, the answers no,
I think it's messed up, andI think that you know, there's
there's imperfections, there's beautiful imperfections,and that cannot be recreated by a machine.
(24:57):
There's just not humanity. And Iknow it's not going to go away.
And I know I'm going to soundlike a dinosaur and about a like
six months, but I just Idon't want to lean into AI personally because
I do want to continue to supportartists totally. Well, that's what we
want to hear for sure, peoplelike you say and stuff like that.
It's really important. Yeah, Ican't speak on a half of everybody,
(25:19):
but that's for me. Yeah,And I also appreciate the dominance that we've
not let Dave basically get a wordin. I'm sorry, Dave. We've
prevented a lot of editing on myend the benefit of this podcast, believe
me so. So. Our lastquestion for today is if you have any
(25:41):
books specifically about maybe getting into syncthat you'd recommend our listeners to check out
to get more information All you needto know about the music business. By
Donald Passman. I happen to knowhis son Jordan. He's lovely Return of
the Hustle, The Art of Marketingwith music, best damn hip Hop writing.
(26:03):
This is another one which is interesting, Great myths of popular psychology.
I think psychology is really important inour world and learning how to work it.
And then there's another like book seriesthirty three in a third where they
really hone in on one album andthere's tons of different albums, different books,
(26:26):
but I love reading that and justunderstanding the artist process and also listening
to the podcast Song Explorer is abig one for me, which is a
bunch of other podcasts out there thatare just great for that. But I
would say, if you're only goingto buy one book, I would say
it would be All You Need toKnow About the Music Business by Donald Passman.
Excellent. Yep, I've read.I've read half of that one.
(26:49):
That one's like one of the oneswhere I have to open up when I
need something. Yeah, it's likea nick Cyclopedia. It's big. Yes,
all right, Jenny, thank youvery much for your time. It
was great. Thank you so muchfor having me. It's a pleasure just
to have you on here and learnso much more than I did before.
So thank you, thanks, thankyou. When she first started discussing ways
(27:15):
to increase your value in SINCA reallywas hoping just like how much money you
had to bribe people, and Ithought that would have just made the things
a lot easier. Yeah, Iwonder how much of that actually goes on.
You know, in our last episodewe talk about relationships and networking and
if you're a top of the mindof people that are making them decisions and
(27:38):
you have good relationships with them andputting out you know, good music.
I think that's what wins overall,right, and the other end of it,
which is what we're talking about mostlyhere today. Organization is such a
critical part of being valuable. Itis not going to work out for you.
If you can't be organized in theSINC business, it's you're going to
(28:00):
end up losing way more opportunities andin the end, people will stop coming
to you, just sheerly, basedon they don't feel confident they can get
what they need quick enough. WhenI took Deaphanie Lewis's class last year,
she couldn't stress enough how important itwas to have everything organized because she would
be traveling and need to get everythingover to the person in charge within minutes
(28:25):
and had to send a link onetwo three, not looking for everything or
having to get people to sign contractsabout splits. Everything just had to be
in order, ready to go.And as Benjamin Franklin says, put all
your stuff into zip folders. Idon't even think the zipper was invented yet,
let alone the zip folder. Whatdid you say your favorite your favorite
(28:48):
drive was I'm a dropbox man,But you mentioned something else. No,
I mean, I I like dropboxthat we use that a lot, right
for this business, but I usedisco for my sinks. Yeah, and
that's that's becoming an industry standard,you know, created by sync musicians,
really for musicians, but it's reallyalso for music supervisors. It's it's for
(29:12):
them, it's for their sanity,it's for the process, you know,
they've really figured out how to makeThey always say that you have a great
idea when you can take what otherpeople are already doing and make it faster
or more efficient. Right, that'sthe idea of making a good business product,
and that's definitely what disco is.But doing your research and understanding who
you're sending your stuff to. Thatetiquette of communication. She've touched on that
(29:34):
about making yourself more valuable. Noone wants to be cold called, and
haven't you have no idea who you'reeven cold calling? Right? This business
is a people business, right,as we've said, and it's really important
that you treat those people that you'rereaching out to with respect. I think
of it like you wouldn't go intoa job interview without knowing anything about the
(29:56):
job you're applying for, right,That's essentially what you're doing every time you
reach out to these people is ajob interview essentially for a little mini job,
right, And so it's really importantthat you get into the habit of
doing the research before you send thatemail. And as she said, it's
worth reiterating, do not send anattachment in your email. If you're listening
(30:19):
to this and you're trying to findthe actual tips on how to become more
valuable, there's just so many inthe air. It's almost impossible to not
find a place to start. Andthat's that's really important that you just pick
the one that you identify as beingyour biggest weakness or the one that you're
most interested in tackling right now.Don't try to do them all at once.
(30:41):
This is this is why we takeour time with preparing, with organizing,
with getting ready for the opportunity.And that means getting those stems and
those splits and the metadata all enteredin, having the multiple versions of the
tracks, having the E version thee'se vocal ease, right. If you
haven't ever done that on a track, it's actually really fun to go back
over your song in your fear ofthe vocalist and just seeing ease. It's
(31:06):
quite entertaining. You know, there'sa lot of fun things here too,
at least I find them fun,but it's not as scary once you start.
So my whole thing is this,you find one of these things that
you need to work on and getstarted on the process if this is something
you want to get into. Speakingof scary, you know you brought up
the question of AI, and I'vebeen doing a lot with AI on mid
(31:29):
journey. As far as text toimages, it is unreal what I would
have to pay for a head abovebranding. There's logos I need, there's
certain ideas that I just want togive to my clients right away, and
I can just type it in andhave it within seconds and cost nothing.
There are already apps that you cantext to music exactly what you're looking for
(31:55):
for a scene and type that inand have that license free ready to go
right out of the gates. Sowhen you were bringing up organization earlier,
how much more organized can you bethan AI? So you definitely have to
be on top of your game.She mentioned having you know your socials up
to date in your numbers there,which I also thought was interesting compared to
(32:17):
how AI won't be able to bringin numbers so as musicians have more of
a fan base and they let theirfan base know that I got, you
know, placement in this episode ofX, Y and Z or this is
coming up into a new movie isgoing to be helpful with advertising. AI
(32:37):
won't be able to offer that,so that was one positive. I thought,
you know, the way around havingthose networks and relationships with the person
that's picking the music, they mightgo with you because it would boost that
advertising aspect. Our access step todayis to download our MTJ music catalog.
Start organizing your material so that youcan be more ready when those sync opportunities
(33:00):
come. This will be an easyway for you to start to figure out
what information you do and don't have, what you need to do next.
It's a kind of a blanket wayto get all of your material put into
one place with all the information needed. We know that your time is valuable
and we appreciate you spending this timewith us and being a part of this
community. It's our hope that youfeel that sense of community here and are
(33:21):
having a great time with us andhelp us spread the word. If you
want to get hold of us,what's the best way to do that?
You can reach us at musicians tipjar at gmail, or check out our
website and musicians dot com. Ifyou want to learn more about Jenny,
type intername at musicians dot com andwe have a whole page dedicated for of
course. If you find this informationuseful, please rate and subscribe to this
(33:43):
podcast, and as always, thankyou for joining us. And remember there
is already enough for everyone, Youjust need to know how to get it.
Until next time on behalf of DaveTampkin and myself, stay happy,
healthy and wealthy. Music is andalways will be the secret code to media
heartstrings. Might as well get yourtracks in the game this Musicians Tip,
(34:05):
Joe, Oh Somebody. Nothing onthis show should be considered specific, personal
or professional advice. Please consultant appropriatetax, legal professional for individualized advice.
Individual results are not guaranteed, andall discuss strategies have the potential for profit.
(34:29):
Or ask those operating on behalf ofMusicians Charged or else exclusive
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