Sync Songwriter with Chris SD

Do you ever wonder about how to upgrade your music career easily? This is what worked for me the best….

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EPISODE TRANSCRIPT 

So, there's this saying that your fate or your financial worth or your success rate or whatever you're trying to do - is the average of the five people you hang out with most.

So, I don't know about you, but I actually looked at my life when I heard this and I started thinking… is that true or not?

And in my case, it was most certainly true.

When I was getting into music production, for example, I tried to work with A-listers. You know, I tried to hang out with producers and engineers who were better than I was. You're learning things from them. You're absorbing things. It’s not just about them telling you, for example, here's how you do something – and you writing it down. I mean, you can get online and you can dig around and find stuff like that.

It's more about the stuff between the lines. It's more about picking up the vibe or watching how they think about certain things or how they handle problems or suggestions they might have as an outsider to your situation. Those things are invaluable.

So, those aren't these empirical things you're gonna write in a notebook. These are things that you just sort of soak in by being around people like that.

But one of the biggest advantages are the opportunities. Opportunities that you wouldn't otherwise have.

So, for example, we just kicked off the new class Art Of The Song Pitch. And my students got a brief today because we were looking for a song for a commercial that pays $100,000 and we did not have anything like that in our boutique library.

So we just reached out to the students. We're not doing that yet with them. Later on we'll be doing that, but we just send it out to them and said, “If you've got a song, this is what we need, and here's the brief.”

So, we got some songs in, we made a playlist, and we saw today that this music supervisor downloaded the whole playlist. That's a great sign. No guarantees. Just wait and see what happens. But the point is that opportunity would never have come around to the students had they not had some sort of connection with the music supervisor - as indirect as it is at this very moment, just starting out.

So, when you're going forward, when you're doing the things that you're gonna do this year, make sure that you try to think about, “Where do I want to go and who are some of the people that are in that circle who I also identify with, that I can form friendships with that, that I can bring something to the table with them.”

Even if it's just your nice smile and some jokes and laughter, who cares what it is? It's you're bringing something that makes them want to hang out with you, and you are gonna have a win-win relationship there, and you're gonna make things happen much faster.

Now, on the other side of the coin, I'm not saying ditch your friends and hang out with a bunch of A-players that you think are gonna help you. Right? That's a little bit elitist, and I'm not suggesting that at all.

I've got lots of friends who are not even in music who I love for different reasons and it has nothing to do with, “How are they gonna help me or how is it gonna serve me?”

The whole idea is that you need, in relationships, you're supposed to be win-win, right? Serving each other.

The same thing if you're a B-player and you're trying to get to a place, you need to bring something to them so you're serving them in some way, where they’re serving you back. So later on, when you look back at your success and think, who were the five people I was hanging out with most during that time, you may be surprised.

I’m looking for new songwriters, producers and composers to connect with my music supervisor friends. If you are interested in being part of this limited group, here is your first step...

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EPISODE TRANSCRIPT 

Oh, I'm so excited. Guess what's coming up?

The Sync Songwriter Music Supervisor Panel. It's on January 15th. It is going to be absolutely epic. It's gonna be a game changer.

Every year around this time, I go out and look for new music to send to my music supervisor friends. So this is what the panel's all about.

So let me explain the two reasons that I decided to put this on.

The first one is, for my soul, from my heart, I want to do something for you that is going to really raise you up - get your music out there so that you can understand why sync is such an amazing way to go to make a huge splash.

You get paid for your music in the sync fee, in the backend royalties, you make all these relationships in the sync industry, you get a huge fan base because you've got like, imagine being on a show with millions of eyes and ears, and even if a fraction of them are shazaming your song, imagine the number of people that are downloading your stuff and becoming your new fans.

And then the labels come knocking, the publishing companies come knocking, and you are all of a sudden… you can land in the charts with one good sync placement. That happens more than you'd think.

So this is such an amazing opportunity and I wanted to do something completely free for you (it doesn't cost a cent) to come out, meet these music supervisors.

There's gonna be five of my friends there, and you're gonna learn about:

There comes a time in your life when you have to make a move - enough of practicing, enough of learning, enough of trying to upgrade your skills. Yes, those are all great, but they're also a form of procrastination.

I'm not calling you a procrastinator, but you can get lost in the whole idea of like, I'm not ready yet. My songwriting needs to be better. My music production needs to be better. I need to kind of develop, or maybe that's a next year thing.

Time keeps going by. There's never a perfect time for anything like that. I'm sure you know that in your life, you know things that have happened to you in your life. They just happened. You didn't plan everything out. So the trick is taking action, follow your heart, follow your passions.

That's something that I did early on. I was an honor student up till grade seven and grade eight. Looked like I was on the normal track to, you know, just go to college, get a career and be done.

And, I just lost complete faith in the education system. And by the time I hit graduation in high school, I almost didn't graduate. A teacher basically gave me extra marks thinking, Chris, you know, you seem reasonably bright, you might want to go to college, so I'm gonna give you some, some marks and just to pass you.

And I did go to college, but only for a year and a half, and then I dropped out. I knew my path was music - and I followed that.

I followed my heart, I followed my dreams, and I ended up in a ratty old house with a bunch of guys with a jam space in the basement. And, I roofed, part-time and that was dirt broke. But I was happy. I was really happy and I kept working at it, kept following my dreams and everything worked out as it should.

I became an award-winning music producer. I got all these contacts in the sync industry. I've been helping indie artists, like that's my passion and that has worked out amazing, being able to get your music in front of top music supervisors in TV and film.

So I encourage you to do the same. Follow the thing that you know in your heart is your path and it will lead to things. And that is one of the reasons I wanted to do the panel. I want you to come out to be inspired. I want you to come out and really understand what sync is all about.

If it's not for you for some reason, totally cool. It doesn't cost anything, but I'm pretty sure the light bulb's gonna go off if you are not that familiar with it. And you're gonna see the massive, massive advantage of doing that. It's a much easier way to go than building your music career in other ways.

The big thing about sync is it's about relationships. It's about knowing the people who put the music into TV and film.

If you're in a library or you're in an agency or you do these sort of random listening sessions… Or you don't know the supervisor and you know, are they a big supervisor? A small supervisor? It's completely impersonal. It's like playing the lottery, you know.

And there's no diss on those three vehicles. They’re there for a reason and they serve a purpose. The problem is, is you're needle in a haystack. The music supervisor always gets the placement when they go to one of these places and that place gets the sync because they always have a song that this music supervisor picked. But what are the odds that it's your song? That's the problem.

And then, you end up having to pay usually a chunk of dough to whoever it is that's representing your stuff. If you go to the gatekeepers, you keep everything.

So I can't wait to see you at the Sync Songwriter Music Supervisor Panel. And let me know some questions that you might have for the music supervisors. I'm really curious to know what you want to know. I might be able to steer the conversation in the direction to get your question answered, earlier on. And I will see you at the panel.

And remember, it's completely free. It's on me. Come out, just show up. You just gotta log on, show up, and I know that the light bulbs are gonna go off, and it's going to be an absolutely game changing event. Bye-bye.

If there is one thing that can put you over the top when trying to license your music to TV & film, it's earning the trust of music supervisors.

I talk about the good and not so good ways of doing that.

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EPISODE TRANSCRIPT 

Hey, it's Chris. I hope you're doing great and I have a quick question for you. 

Do you trust me? 

Weird question… I'm kicking off something here. 

So, as you know, I like to use analogies and metaphors, but it's actually a very close to home question for me. You know, I put a lot of effort and energy and time and money and all of this stuff into helping indie musicians get their music into TV and film. I've been doing it for a very long time and I've got a track record to prove it.

You might be watching this and you don't know who I am. You might be very new to our community. Be like, “Why should I trust you, Chris?”

So it's not really about me. That's not why I asked the question, although I am curious.

The reason I asked it was to point out something that is so critical to everything that we do as people in this modern world. 

We're bombarded with ads with people trying to convince us how to think, what opinions to have, what to buy, what lifestyle we should be we doing - getting advice from people.

It all comes down to who you trust. 

Where are you gonna get your cell phone plan? What restaurant are you going to eat at? We go to things like Yelp and we go to things like Google Reviews. We try to compile this data set that will give us this picture of what that entity is that we're gonna interact with. And it all comes down to trying to figure out whether we trust them or not. 

And the reason this really applies to you is because the number one thing in the music licensing industry, even if you've taken courses and you know what to do, you've got metadata in all your files and you've done everything by the book, you know, dotted your eyes, crossed your Ts. You're not going anywhere if you can't earn the trust of music supervisors. 

Now you might say, “Chris, I'm in a music library. I'm in an agency and they're doing all this for me.”

Exactly, so the reason that you're in there is because they have trusted connections with the music supervisors. The only problem is you're a needle on the haystack because you're in there with a bunch of other artists and songs and so on.

Most musicians I talk to who are in agencies and libraries are not getting sync placements. So I'm just saying, the odds are stacked against you when you're doing that sort of thing.

But then, how do you earn the trust of music supervisors if you don't do that? 

Well, you do it on the long road like I did. You basically move somewhere where there's a bunch of music supervisors. You go to a bunch of events and over the years you develop these relationships and gradually you move up the chain. 

Or you can go through someone like myself. Which is what I've been doing - introducing indie songwriter to top music supervisors and that's how Sync Songwriter gets the results that we do with all the sync placements we get.

But ultimately in the end you need to know the number one thing that you've gotta work on and figure out a path to is getting the trust of music supervisors.

Without that, just like you, they're not going to answer that call that they don't recognize. They're gonna look at an ad where they’ve never heard the name before. And even if you're the most trustworthy, hardest working, honest musician, you're just simply not gonna be able to get that kind of attention from them without getting the trust of the music supervisors. 

Leave me a comment below here. I read every single one. I respond to them all. 

Let me know what your issue has been in the past with either people trying to get your trust that turned out maybe to be a scam, or I'm really interested in, what do you think about what I'm saying.  Do you think that you need to earn the trust of music supervisors? And how are you gonna go about doing that? What is your strategy? How are you gonna push forward in the coming year to figure out what is gonna happen with my music? How am I gonna make that happen on a proactive level and not just sort of float out there producing music, uploading it, and hoping for the best? Hoping never works. It's like being in a life raft, hoping to be rescued. Hope is amazing. It can tide you through. In music licensing, it doesn't work at all. You have to have a strategy and be proactive about it and hopefully have a great roadmap to exactly where you want to get to. 

Alright, talk to you soon.

We all have our own reasons for writing music and I am really curious to hear yours. 

More importantly I wanted you to know what I think is the very best way to get your music out into the world in the biggest way possible.

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EPISODE TRANSCRIPT 

So why do you make music? No, I'm serious. I really want to know.

Why do you make music? 

People make music for all kinds of different reasons. Some people want fame, some people are after money. Some people just want to do it for the art. Everybody else seems to fall in between those three poles of this great triangle called music.

So whatever your reason is, you can't answer that for somebody else. I can't answer that for anybody. We all have our own reasons. The one commonality though, that I've discovered is that no matter why you make music, you want to get your music out there, it's a condition of being human. It's like it's just life.

If you look around you in the world, there's all kinds of things going on. Things are changing, things are moving, things are growing. There's. Always something happening. And so music itself just wants to be shared. It's something that brings people together. It lets people understand you in a much deeper way.

There's all of these great benefits and a music supervisor friend of mine told me one time, which I thought was absolutely brilliant, he said that music is the one thing that humans have invented. That hasn't created destruction or caused, you know, all the problems that many of our other inventions have wrought upon the world.

And I think he really hit that nail on the head. So, if you are thinking about getting your music out there, of course there's a million ways you can go about doing that. So you can go after label deals, you can go after publishing deals, you can tour, you can put posters up on polls. There's a million ways that you can do this.

The one way that I've found that works the absolute best for the indie musicians I worked with in the studio trying to just make something happen with the record was sync licensing. 

It was fast, it was huge, it was lucrative. And so when you get a sync placement, you get that big sync fee up front, you get the backend royalties, you get this big bump in your fan base, you get the reputations in the industry. It really is such a fantastic way to go. . 

But the thing about sync licensing is that sounds really easy, right? What I just described and sounds awesome. It's actually really, really hard. It's difficult to actually get a sync placement. Why is that? Well, because everybody's trying to get a sync placement.

That's the reason - there's a limited number of opportunities out there, even though there's so many opportunities. There's like television 24/7. Cable on top of streaming on top of online production like this. It goes on and on and on. 

Then there's ads, and then there's films and there's student films and Hollywood films and, you know, streaming services are making films.

So there's so many more opportunities than there was even just five, 10 years ago. But the thing is, everybody's got a record out and everybody's trying to get into those spots. So if you know the right way to, it definitely is an amazing way to go. 

The problem is most people don't know that path or they don't follow that path.

So you might be thinking, Chris, you know, all I gotta do is get my song into a music library. Well, that's great. You could absolutely, like right after you watch this video, you could totally go online and get your music into an online library, non-exclusive, and you'd be in there with thousands or millions of other songs. You're a needle in a haystack, right? 

Or you might say, I gotta get a sync agent. Well, you can go get a sync agent. It's hard to get the top ones. And even if you do, you've gotta be on the front burner with them because they have a big roster of a bunch of other artists that they're pitching. If you're not on the front burner with them, then things are not gonna happen the way you think that they're gonna happen.

On top of that, they take a huge cut of your sync fee and your backend royalties often, and some of the contracts are even more onerous than. 

So when I was starting out in the studio, working really hard on records for other musicians, any musicians who didn't have labels, didn't have agents, didn't have managers.

The question was, what is the best next, best thing we can do for this album? And that answer was licensing it to TV and film because of all the reasons that I just talked about. So at first when I tried to get into the industry, I had no luck at all. I didn't know anybody. I failed completely.

I was doing all the wrong things and slowly and surely, I eventually got some relationships and then grew more relationships. And now I know a lot, a lot of people in the sync industry and how I do it is introducing indie songwriters directly to music supervisors, which to me is the absolute best way to do that.

It's actually connecting with the gatekeepers so that you're not taking these roundabout routes. You're not competing against all these different people. Uh, middle people aren't taking a cut of your music. You're actually going directly to people who are putting music into TV and film, developing relationships with them, or at least being introduced to them, right through somebody like myself.

Or if you're lucky enough to have an uncle who works in the sync industry, maybe like that. So now I'm gonna circle right back around to the very first question I asked you. Why do you make music? What's your deal? Leave it in the comments right below here. I read every single one. I respond to them all.

And just put it in there right now and I'll see you there. Bye-bye.

If there is one thing that stops music from getting a sync placement… it’s likely the same thing that will make you quit listening to this podcast I shot for you.

Find out why AND what it means for your recordings you are trying to get into TV & film.

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EPISODE TRANSCRIPT 

Hey, it's Chris, and you know how I love using metaphors, examples, analogies, for things I'm talking about. Today, I got this crafty idea to come out and go on a windy day here in the Sea of Cortez and have the wind blowing into my microphone to give you an example of bad production. Because today I wanted to talk about production and sync. 

I also am staring more or less into the sun squinting away. And maybe my hair is all messy from the wind. I have no idea. But the bottom line is, I want to give you an example of what music supervisors... their reaction when they hear your music, if it's not produced properly. 

It's so critical that your music be produced right. And I'm gonna talk about why. And I'm also gonna talk about ways to actually make that happen even if you're a beginner. 

So the bottom line is that when you first submit your music and a supervisor puts it on and listens to it, the very first thing they listen for is the production value. And I'm talking about within the first few seconds of playback. 

If the production value is not above the threshold, if it doesn't sound like everything else getting into TV and film, it goes into their version of the trash and they move on to the next one. They're very busy people. They don't have time to get back to you to explain, here's what the problem was, or here's what I would fix, or here's my impressions. They simply don't have time for that, so you have to get it right the first time. 

In order to get that right, a lot of people think, well I'll just spend more time in my home studio. If I spend a certain amount of money, maybe under $5,000 for your computer, your interface, your microphone and your guitar, whatever instruments you've got. Then all you gotta do is just spend time until it's right. 

The problem with that approach is you're not ready yet. You're not there. When I first started out recording my friends for beer, I listened back to those recordings. I spend a lot of time on them, and they still make me cringe. 

So all I'm trying to say is, don't waste the great songs that you're writing now on mediocre production. As you're getting better at what you do, the solution to that is to hire somebody else who's better than you at certain things and let them bring what they've got to the table so that they can make your music great while you're learning from them. 

So you're working with them, right? Allow them to kind of produce or engineer or do whatever they do, and learn from them about how they're doing what they're doing on your music. Pull the sessions into your computer, get better and better at it, and before you know it, you'll be producing your music above that threshold. 

Now, this is something that I do at my own studio, Sundown Sessions Studio. I have an online recording studio. I went out and hired some of the best of the best. These are world class players, engineers, programmers, composers, whatever you know, all the roles that we have. And we work as a team and a lot of these people are better than me at certain things. 

I spent a lot of time producing records. Over 20 years, I've won awards doing it. And I'm not saying I'm the brightest crayon in the box. I recognize that. That's Steve Jobs' philosophy that I've really taken to heart. That's how he started Apple. He said, collect the best people you can around you. Let them self-manage. Your job as the leader, beside your contribution, is to remind them of the vision, what you're trying to do. 

At my studio, our mission statement, if you want to call it that, is world class production at an indie budget. Okay? So whatever your version is of that. Make sure that you hire, you don't have to hire my studio, there's lots of people out there who you can hire, but go and take the time to get people who are better than you. 

The argument against that is saying, Chris, I don't really have the money to do that. I really just need to do it on my own and so on. Remember that money and time are inextricably linked, so when you are spending your time, that's time you can't be making money. It's time away from your loved ones. It's time away from hobbies. It's time away from writing new songs. So there is a cost. There's always a cost with time. So whether you spend money or you spend time, the costs are gonna be really similar. 

So you may think about,  I'm gonna be better off if I hire somebody who's better than me for now. So I'm gonna save my money. I'm gonna take that extra time and make more money, or whatever it is. But just think about those two things as linked and don't just feel that, if I spend more time, then it's gonna be kind of free, cause it's never free. 

The last thing that I want you to think about is that your music is your legacy. It's something you leave behind. It's gonna outlast you. It's something your children are gonna hear, your grandchildren if you decide to have kids. It's gonna be something that other people hear before anything. It's a part of you. So it's worth the investment. It's worth it sounding as good as it can be. 

And again, not trying to stress you out and make you feel like, oh man, I'll never sound like the latest, greatest record. That's not the point. The point is just to get it good enough so that it sounds like everything else. 

So how do you know that? Right? So here's a solution, a trick that you can use... 

Take your mix, put it in a playlist with other artists or bands that you admire, and put it on random, and then go do something like chop carrots for dinner. Don't focus on it. Don't listen to it directly. Just listen to it indirectly as background music almost. When your track comes along in the playlist, what was your reaction? If your reaction's like, oh yeah, my head was still bobbing, and I was having a good time and great. You're golden. You're done. That's a good job, right? If your track comes along and you're like, you know, I just didn't really sound as good as everything else that was on the playlist. You've got some work to do. You've got some things you need to sort of address.

So leave me a comment below. I read them all. I respond to every single one. I would love to know where you are at on your production journey, or maybe you've got it figured out, what do you do by yourself? What do you outsource? Share it with us. We'd love to know in the community. That'd be amazing. So hit me up in the comments. I'll get right back to you and I hope you enjoy this. Not sure if my faux bad production on this came across at all, but I was doing my best. And we will catch you on the next one. 

Have a great rest of your week and we'll see you there. Bye-bye.

Here is what I think is the biggest mistake musicians make when trying to license their music. I call it the biggest because it is the simplest to avoid and why it can be such a missed opportunity…

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EPISODE TRANSCRIPT 

Hey, it's Chris, and today I wanted to talk to you about the first thing that you need to do before you get your music out into TV and film. 

Tons of musicians make this basic, basic mistake, which is a huge mistake. 

So the biggest mistake musicians make before they get the music into TV and film is not getting their music out there before it happens.

It's happened too many times in the Sync Songwriter community. Sync placements happen and then they forgot to put their music up anywhere. So the fans are watching the show, the movie or the ad, they're shazaming, or they're typing the lyrics into Google. And they can't find you. That's your first 15 minutes of fame when you get a sync placement, because people hear it. They want to know right now. 

I do that all the time. When I'm in a bar or a restaurant or watching a show or something, and I'm like, "Who is that?" And I'm trying to figure out what song that is so I can throw it into my playlist. That's where you want to grab those new fans. Now we're talking about thousands, often millions of eyeballs and ears that are checking this out. So you don't want to waste this amazing opportunity. 

So make sure that you have your music out there where they can find you. Any streaming platforms or whatever, get on your website, somewhere they can download it, stream it, buy it, whatever. 

The other big advantage of that is labels are going to take notice of that bump in listenership. Maybe you want a publishing deal, a licensing agent or a high-end library. Those people are going to notice that kind of thing. You can also be proactive, and you can say, "Hey, look what just happened with this song? I got it in here and this is what happened." Then a licensing agent or library might say, "Wow, look, we can monetize this. We should sign this person so that we can get more syncs with the same song." That's where you want to start capitalizing on this stuff. So make sure you get your music out there. 

Now I do get the question, is it better to have an unreleased song as opposed to one that's out there and released? So this does apply only if you are generally famous or semi-famous, somewhere in there. In that case, people might want to get the scoop on you. They might want you to write a song or submit a song that's brand new that you just did so that they feel like they can introduce it. 

So a great example of that is Billy Eilish's song that she did for the James Bond film. The directors and the producers used it almost as its own trailer for the movie, and that is because they asked her, you know, "Look, write this piece of music. We're not gonna... no one's gonna release it ahead of time. It's gonna be really associated with the production. And then once the production comes out, then the song gets released and then you can download it and whatever. So unless you're in that strata, don't even worry about it. Just get it out there. 

Music supervisors do not care if your song's been out there unless maybe it's been associated with something in a bigger way that they don't want to be a part of. Could be as innocuous and as harmless as like you were in an ad and the movie director is interested in the song. They say, you know, "I don't want people thinking about this particular product from the ad that your song was in." But that's super rare. So just get your music out there ahead of time. 

The turnaround time for sync placements happens quickly. You want to make sure that you've got your presence online for all the reasons I just talked about.

So leave me a comment below. Let me know whether you've been in a situation like that, where you've missed the boat. Whether you are trying to get your music out there. I read every single one, I respond to them all. Leave your comment right here and I'll see you right there in the chat.

All right, see you later. Bye-bye.

Do you think you need to change the way you write music to get it into TV & Film? I answer that question here… along with something the manager of the 'Sex Pistols' told me.

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EPISODE TRANSCRIPT

Hey, it's Chris, and today I wanted to talk about whether you should write for Sync, meaning should you compose songs specifically to try to get it into TV and film or not, or just write your own stuff and then try to find the opportunities to do that.

So, I can go through a lot of different theories and things that I've heard and things that I've seen. I would prefer just to rely on my own long experience in Sync Songwriter, watching all the sync placements my students have gotten and how those have happened.

I can tell you that 90% of them have happened because they did not write for sync placements. So they didn't focus on trying to make music to fit into a particular show, movie, or ad. The whole idea is you can write as an artist and still get all kinds of sync placements by finding the opportunities that are looking for your kind of music.

So you don't just want to have a shotgun approach. You want to be able to take your music, figure out where it belongs first. So you're aiming at the dart board. You're not sort of having a blindfold on, pin the tail on the donkey or something, which of course never works. You want to know and be able to see the target that you're hitting... you're shooting at- to hit it in the bullseye. S

o. ultimately what it comes down to is figuring out, as an artist, what do I like to write? What do my fans want to hear? What satisfies my heart, my soul, my 13-year-old self that will approve it? Whatever that measuring stick is for you, go by that. Be faithful to your music.

My music supervisor friends always tell me they prefer authenticity. They want to hear something that's real, something that really touches you as a piece of art. Something that is really going to transport the listener, the viewer of the show, movie or ad into a place that is artistic and has the feeling of what the director intended.

So don't think about sync placements when you're writing your music. Write your music to be as true as it can to the goal that you've set out for yourself. After that, you can find the places where it belongs. You can find the right people who will put it in those places. That's the critical part.

Not to say that you can't write for sync. It happens all the time. It used to happen a lot more, you know, or especially if you write to cue, right? If you've got... if there's composers or people who are working for a studio, or they've hired you to score music for a movie and so on. You are writing for sync and there's nothing wrong with that. There's absolutely nothing wrong with that, and there's plenty of people who have success doing that.

But overall, if you really want to make sure your art is exactly what you want it to be, and at the same time be able to get it into TV and film, write from your heart. Don't try to second guess what you think you should do. It's the same old advice that you probably heard about. Don't write music to try to get a label deal. Be who you are.

So I have a little story that ties in really well with that.

So when I first started my band with my brother, we went to a conference and one of the keynote speakers was Malcolm McLaren. He was the manager of the Sex Pistols. So, we were a little late and we got into the venue. We were trying to get to the room where he was speaking, and he had just finished and he was walking out and he had his little entourage around him as he was coming down the hall. And I can't remember if my brother or I stopped him in the hallway and asked him, said, "Malcolm, just quickly, do you have any advice in two lines for bands just starting out?" And he kind of looked us up and down and he grabbed one of the tags off of us and he threw it on the floor. And he said, "Don't come to them. Don't come to conferences, go home, write songs, and make them come to you."

And that always stuck with me, and that is exactly how we get the success we do in Sync Songwriter. These are songwriters, writing music as artists and then finding the opportunities and we get them in front of the right people. And that's when the sync placements happen.

So anyway, I hope you enjoyed that. Leave me a comment below. I read every single one. I respond to them all. And let me know how you feel about that. Have you been writing for sync or not? Tell me about your experiences with that. Have you gotten sync placements? Are you good at your targeting and figuring out what shows, movies, and ads that your music should go into? Let me know. I'll hit you back and it would be great to find out and hear what you've got to say about it.

Alright. Have a great rest of your day and we'll see you on the other side. Bye-bye.