5 Common Lyric Mistakes—and How to Avoid Them
By Jason Blume
For BMI
We've learned so much about songwriting from Jason Blume over the years. (Good songwriting matters in sync.) In this BMI article, he shares 5 common lyric mistakes and how to avoid them.
The Art of Networking in the Music Industry
By Kaltlyn Raterman
For Flypaper
For those of you heading to music industry conferences or holiday parties, this article is a great reminder about how to get the most out of networking. “It isn’t about finding people who can help you out. Networking is about building meaningful relationships with people.” And that’s always a good thing, in the music business or any other business.
How Do Songs Get Picked for TV?
By Jack Denton
For VICE
“It depends on how the music is functioning in the show and how the song helps tell the story or convey an emotion that is not necessarily said in dialogue.” There you have it. That’s how the decisions are made about how songs are used in shows. Music supervisor Jen Malone summed it all up for us.
Insights From a Music Supe
Ghostwriter Music
For Music Connection
Some music creators have been successful getting their music licensed by dealing directly with a music supervisor. Most of us have not. As music supervisor Laura Katz explains, “If you partner with a good pitch company, they'll be sending in your music when it's appropriate and when the music supervisor needs it, which is the best chance of getting your song actually licensed!”
The 10 Most Overused Songs in Movies and TV
By Dalton Norman
For ScreenRant
Sometimes there are lessons to be learned about writing songs for sync where it would not be expected. This article lists, “The 10 Most Overused Songs in Movies and TV.” That may sound like a bad thing, but we certainly would LOVE for our songs to be placed too many times (whatever that means.) Dalton Norman writes of an “overused” song, “its lyrics were vague enough to apply to almost any situation, and yet it had emotional weight.” Class dismissed.
How Sync Licensing Helped Musicians Thrive
When Live Music Was Paused
By Dylan Smith
For Digital Music News
We wrote our book during the pandemic which left us little time for writing new music. Fortunately, the music we had already written continued earning royalties. Apparently we weren’t the only ones who benefited from having a sync music catalog.
How to Write to a Music Track: The Art of Toplining
By Jason Blume
For BMI
Toplining, or writing lyrics and melody for a produced track, is a technique used in songwriting for hits and for sync. Jason Blume wrote an informative article about the process for BMI.
Five Common Mixing Mistakes To Avoid
By Ronan Macdonald
For Pro Tools Expert
We've learned a lot about audio mixing from concise articles. Ronan Macdonald of Pro Tools Expert wrote a brief and helpful column on the subject.
4 Big Ways Songwriters Network
By Marty Dodson
For SongTown
Hey! That's My Song! includes a chapter about networking because it's THAT important. Writing great music is a good start but unless it gets to the right people, it may not find success. Marty Dodson at SongTown wrote an insightful article about networking for songwriters.
5 Different Ways You Can Outline Your Song
By Ramita Arora
For Flypaper
There are many ways to start when writing a song. We prefer to start with an outline of what the main idea of the song is and how we'll get there. Ramita Arora of Flypaper wrote a great explanation of the process.
5 Things That Make Mixing Music Easier
By Caleb J. Murphy
For Digital Music News
For songwriters and artists who record their own music, there's a lot to learn about the mixing part of the process. This Digital Music News article by Caleb J. Murphy simplifies some of the basics.
What to Say and Do When
You Meet a Publisher for the First Time
By Jason Blume
For BMI
When songwriters get an opportunity to meet with a publisher, they don't always know how to proceed. Our friend and longtime mentor, Jason Blume, wrote an insightful article for BMI explaining how to handle this situation. Though it is not intended specifically for talking with sync music professionals, it still applies to meeting with music supervisors, music library representatives, and sync agents.