Скачать или смотреть How to Get THOUSANDS of Sync Placements [Top Film & TV Composer Tips]

Tracey and Vance Marino have had their Instrumentals and Songs placed THOUSANDS of times in TV, Film, Commercials, and Video Games. How did this husband and wife team from San Diego do it?

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Want to get your copy of the book in this episode? Click the link below!

Hey! That’s My Song!: A Guide to Getting Music Placements in Film, TV, and Media by Tracey and Vance Marino: https://amzn.to/3Nhxl5q
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⏱️⏱️VIDEO CHAPTERS⏱️⏱️
0:00 - Intro to Episode with our Special Guests!
6:52 - Is there a magical key for sync success?
10:09 - If you are not sure how music is used in TV, Film, and other media, you need to watch everything and listen to how music is used to stay current with trends and learn how songs or cues are used in news, reality shows, etc.
11:28 - Most of the time it's not about writing the best song or cue, it's about being marketable.
13:42 - Keep in mind that in writing for sync, most of the time your music is not the star and is under the dialogue, so it will be talked over.
14:58 - What is evergreen music?
16:16 - How do you write music that is evergreen and does not become dated?
17:32 - Using organic instruments in your music is less likely to become dated.
18:25 - Most musicians have a strong drive to do their best, but production music doesn't need to be "all that". Simpler is better. How do you learn to put that drive to be the best away and write simpler music that is much more usable?
20:23 - Emotion is at the core of virtually every successful piece of music created for sync (and records as well). There are tons of emotions that have little or nothing to do with tugging on heart strings or making listeners cry. Can you please list off some of the more frequently requested emotions and moods in both songs and instrumentals that work for sync placements?
25:30 - People get the urge to write a score in 90 seconds, with more than one emotion - why does that typically not work?
27:58 - What is a developmental arc and how do you achieve it?
29:48 - Waveforms are helpful, and production libraries will look for them so they can see stops and starts, edit points, forward movement, and intensity builds.
32:47 - Scoring to picture gives you dialogue, visual cues, time periods, settings, and expressions on actors’ faces that you can use to help create music that enhances the emotions or mood. Do you have any advice on how to create instrumental cues "in-the-blind," without knowing or seeing what’s in a scene?
41:28 - You can do better! Challenge yourself to learn new techniques, don't be afraid!
42:04 - This is a business of relationships, don't be difficult to work with, deliver what the client is asking for, you don't want to burn bridges with music libraries.
43:47 - Another thing that frustrates a lot of new composers is being told that a particular instrumental cue is “fine” or adequate, but there’s nothing special about it that makes it better than a dozen other cues in that genre that are already in a catalogue. Do you have any advice to help new composers create cues that are different, but not so different that they’re too outside of the norm, and therefore not very useable?
47:11 - Spend time researching various genres and sub-genres, and provide ideas about the most common genres.
50:53 - What is the percentage of songs vs. instrumentals with their overall output, and which earns more income?
55:26 - Library contracts - why do musicians think the industry is trying to "screw" them over? It's business and if the client makes a buck, so do you! Do your research and if you do not feel that the company isn't trustworthy, don't sign the contract!
1:14:51 - A short course on business etiquette in the context of dealing with music library owners. You’re not the only one or most important person in the world to them. Keep it short and to the point. Deliver on time. No excuses. Give them what they ask for and NEED. Solve their problems for them, etc.
1:23:22 - CHAT ROOM Q&A

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