Are you a Composer of instrumental music looking to place your music in Film & TV ? Or perhaps get commissioned to write new music ?
As the author of ‘How To Get Your Music in Film & TV‘ and a successful composer/producer in my own right, I have a lot of experience of Film/TV music. I help a lot of Composers, at all levels, further their careers and earn from their music. Here is an example:
PETE WALTON
I was contacted by a Composer in England named Pete Walton, who was a successful session musician but now wanted to spend more time writing and recording his own music. After an initial review of his music, in which I outlined the areas I felt he should focus on, we discussed his present situation and future goals in depth. He explained that he wanted to shift the emphasis of his career from performing to composing. We both agreed that he had a unique sound which should be at the centre of his marketing efforts.
He had already seen some success in Production Music, and I felt this was something he should pursue further. But first he needed to implement some production ideas that I suggested to him during a follow-up phone call. Whilst I’d liked all the material I had heard previously, some of the tracks were starting to sound a little dated, whereas others did not highlight his musical strengths. So, he started work on some new material. In the meantime, I outlined a basic marketing plan which he should follow. I guided him in writing a new bio, and as he didn’t have a website, I gave some suggestions as to the best way to present himself & his music on the Internet.
The new tracks weren’t quite finished at this point, so next we discussed the different people who can help a Film/TV Composer: such as Agents, Publishers, Music Supervisors, etc. Some Composers are quite entrepreneurial and like the idea of starting their own publishing company, but in this case it was decided that seeking deals with Music Publishers and Production Music libraries was the best approach. I explained the huge differences between Production Music in the U.S & that in Europe, and what the Composer needs to know about both.
His website was now ready, as was the new material, so I then gave him various contacts at Music Publishers and made suggestions as the best way to pitch his material. The relationship between a Composer and a Publisher is quite a personal one, so I kept out of the way, advising Pete from behind the scenes on any issues that came up. In the event of a deal offer being made, I am able to advise him on whether the terms are inline with what I would expect and refer him to a reasonably-priced lawyer should he need one.
This process took about 12 weeks, and was conducted 1-to-1 by email and telephone. By the end of it, Pete:
“Richard was very professional and inspiring both in his coaching methods and in his thorough knowledge of the music business. I have already recommended Richard’s services to friends of mine who needed help in their careers – an excellent service”
Pete Walton, August 2011
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