 One of the biggest wins for an artist when it comes to business is getting their songs synced in music, film, or some type of platform. Why is that? Because you can get paid for somebody else to market your music. That is the only place that happens. I still feel mind-blown by that concept. You own the song, somebody will market your song and pay you to include a part of their campaign or their movie, which will then market your song and make you bigger. There's literally been artists that have blown up off of that. So check out a clip from this interview, our guy Josh did with Adam McKinnis as Adam breaks down the hack to becoming a go-to person for sync. I'm talking about people actively coming to you saying, hey, I want to use more of your music, more of your music, and then pitching you to the rest of the world. This is how you make that happen. Check it out. I think the artists need to know about something used to be before about the seven revenues of sync and in the way to approach getting placements. If you look at like a business structure, if your song can be on a TV show, on a movie, on a video game, on a trailer, on a commercial, on radio or on an editorial playlist slash even a live event, let's say. If you can be on those seven streams, you have songs that potential that can garner high level revenue. But more importantly, you still always own them. And that's the big thing that goes into it. You can be building your fan base, you're building income, but you also still own them. So you can build a massive catalog of never stopping. Like with artists who are signed to labels, I have so many friends that have songs in their vault and they can never release them because the label owns them. That doesn't happen with me. I can make a song a day and I can release all the songs I want and I can put all the songs I can try to get them on at least on the TV film as much as we possibly can. But the more songs I create, the more value I create, the more assets I create. And so for me, it's just a different way of looking at the music industry. And I personally don't, I wouldn't want another side of the business. Like to me, this is the best side of the music industry. And then going into like the seven revenues as well, further than that, you were saying that you need to be creating the song. So it's five or six out of seven, always? So basically the way the way the pitching process works within sync agencies is they get what is called a brief. And a brief looks like a casting agency call. It'll say the client's name, the territory, might say America, China, Australia. It'll say the budget, like here's a proposed budget. It'll say where they want to use it. Is it on TV, radio, on demand? It'll have all these different kind of structured deal points. And in that, they might get, I don't know, a major company gets X amount of briefs per week. So if you have a song that only works on a video game, like it can only fit on a video game, well then it's gonna be really hard for them to pitch it many times that week because they can only pitch it that one time it comes in. So let's say if they only get a video game request once every two months, and your song can only fit on a video game because your song says, I play you like a video game over and over again. If that's the big lyric, well, it might be kind of hard because they can only pitch it when they see the video game brief. But if your song can work, the same song can work on TV show, video game, trailer, movie, and a commercial. If it can fit on those five, that means out of the seven streams of revenue, it can be pitched several times that week. So when they have a brief that comes through for a commercial, it gets pitched. If there's a brief that comes for a video game, it gets pitched. If there's a brief that comes through for a movie, it gets pitched. So at the end of the year, that song, if it's a high quality song, will most likely land at some point over a time period. And what happens is when it lands, it has more notoriety now, it has more value. So most likely it might get picked up again by another show or endeavor because they're like, hey, we heard that song. This happens to me a lot. Someone hears one of my songs on a commercial, they contact the company and they're like, we want that song. So it kind of gives you visibility. The best way I try to help all of my mentees is how to create high quality songs that can land on at least five out of the seven revenue streams. That is how they'll get more, not just placements, but more companies behind them because the companies build a high level of trust of their creative decision-making and the quality of what they deliver. Because if you go to a company right now and they don't know who you are, and you're like, hey, I'd really like to get into placing songs in TV and film and they go, great, send me some of your songs. And they listen to your five songs and they're like, cool, these all work only for a TV show and movie, but that's it. They can never work on a commercial. There's too many curses. They can never work on a trailer, too many curses. They can never work on, you know what I mean? They start to pinpoint certain things, right? Then you're limiting yourself. But if I can show people ways of like, how do you make a version that can land on five out of the seven? Well, next thing you know, when you go into that company that doesn't know you, you play them your five songs and they go, oh, wow, these songs be played on all the revenue streams. That's when you get a meeting about you. That's the important part. Stop what you're doing. We gotta interrupt you to let you know you can win $20,000 by submitting your music to tulost.com slash collab for the crown. We're looking for the best songs and we're partnering with Tulost. So if you think you got some great music, if you think you got the goods, go to that site, tulost.com slash collab for the crown. Check out the instructions for the contest. Win up to $20,000 and make sure you put in no label when you create your profile on Tulost so you can make sure you get three months completely free. That's tulost.com slash collab for the crown. And again, when you sign up, put in the code, no label, all one word, and you will get three months completely free. Go in there $20,000 because you know you got the goods, you got the talent, you just gotta make sure you submit. Peace. When you send songs in to get reviewed or you're trying to work with a new company, nothing's ever gonna happen in a big way unless the company has a meeting about you, meaning if they played you in one of their A&R meetings and they brought you up and they said, you know what, we got some songs from Daniel and these tracks are really good. Let's all talk about Daniel, about signing Daniel to the roster. So that means everyone who's at the top, usually the president, the vice president, the head of A&R, they all have to agree on this thing for the most part, at least some level be a unanimous misdecision. You have to make music or more important, you want to make music that when they have that meeting, they do nothing but say yes, yes, yes. You don't want maybes. And that's why I help my mentees do is make sure that before it even is shown to anyone else, all of myself and we have a round of Grammy award winners and top songwriters who are part of our mentorship circle, we all have to listen to it and be like, yeah, yeah, this is something that we would all get behind. Now it's time for you to talk to the executives and that's why we have such high results in what we do. Interesting you say that a lot of this thought process goes into before you've even wrote the song rather than like necessarily making tweaks afterwards, but so are you all like songwriters you're working back to be going into the process, trying to create something that subconsciously will tick at least five of these boxes? Depends what kind of song it is in theory. So sometimes when we get briefs, we're literally shown what they're looking for. I mean, in sense they're like, we want something high energy impactful, we'd love some horns on it. We like it if it has like a heavy rock drums, but then trap version of the verses, like they'll tell me a lot of times what they're looking for. So I'll put a screen, I'll put a visual up. Sometimes they'll send me the visual of the commercial, the movie, I have to sign NDAs, they give me the actual movie and I'm making music to film. So in that case, that's a lot easier to write in that way because I can tell if the lyric doesn't even fit the lyric there. I'm like, now we're talking about something that doesn't even work in this venue. But when I have a visual it's a lot easier. If I'm working with an artist and we're not working with a visual, it's just an artist project, then I know there are certain things that you might want to omit when trying to get something on TV and film. For instance, you don't want to say the exact time and the year or the time of the year, meaning like the weather. If you say it's a cold rainy night in New York and it's midnight, well, unless there's a TV show that's at the exact moment, you're probably not gonna land on a lot of opportunity. So a lot of it's just like small changes in omissions and how do you say certain things in a way that could be also universally accepted can grate in someone's chances? Got it, that makes sense. So if there are people who are watching this thing, they're gonna go away now and listen back to their tracks with this new lens. Is there anything else they should be asking themselves other than which boxes does it take and do I need to change some lyrics, things like that? Yeah, I think the main thing, if someone wants to get into TV and film world, I will say it's, here is the best advice I can give someone. First understand it's gonna be the quality of your song. That's the first thing everyone listens to. Within the first 10, 15 seconds, every single person who's listening to these songs knows, is this a good mix? Is the vocalist on pitch? Or is this a cool tone of voice? What I think this person's interesting? That's within the first 15 seconds. So if that doesn't even happen, most likely it's not gonna be good for TV and film. It's very misleading out there where you might hear songs in the background of certain shows and you're like, that's not even a good song. How did that get there? Don't take that, what you hear and then assume that bad songs are chosen and that something can get through, that's not the best. That's called a false positive. When someone thinks that something will work, but they don't know how that song got on there. A lot of times those songs are because it's someone's cousin, it's someone's friend, they had a very low budget left in that film and so they just hit up a friend and was like, hey, remember that old song you did back in the day? Remember it was kind of like a dance song in college? Like, do you mind giving it to us because you're not doing anything with a career? And the person's like, sure. That's why you hear some of those songs. Try to listen to soundtracks of major movies. That should be your goal line because soundtracks of major movies is really like the calibration of what real companies are choosing to put a lot of money into. So if you use that as your bar of metrics, then you'll be like, oh, okay. Is my sonic quality as good as the songs in this Marvel soundtrack? If the answer is no, we need to figure out how to get there first. So that's the first thing is quality. The second thing would be yes, lyrics. Like, are you being a little bit too exact? Like, we are walking down the street in Nashville, Tennessee. Okay, can't use that most likely unless it's a very specific brief. And then also after that would be, and this is for the people who want to be serious, is is your song as competitive as the people who are at the top of the industry, who will be your peers? Meaning like if someone heard your voice and then heard someone who you want to be on tour with, would they say you're as good? If that's the case, then you have a really good shot, like a really good shot at being on the side of the business. But outside of that, it could be really tough. I always want to be honest people. Like if some people have this idea of I want to do TV and film because I don't have to be as good. That is not the truth. That's where all the low hanging fruit comes from. That's not where the industry resides. So that idea that's unfortunately been spread a lot is like you don't have to be the best, you can just do it from home. Most people who are really good at TV and film were signed to record labels. Pretty much everyone I know, all of my close friends were at the top of sync. All of us have been signed to record labels. Cause what happens is when someone leaves a record label cause they don't want to sign their likeness, they don't want to sign their masters, they go right into sync. So as long as the person goes, I have to be as good as people on the radio. You'll have no problem in this field. If you enjoyed this clip, you can check out the full conversation for absolutely free at www.nolabelsnecessary.com where we have not only this conversation but many private conversations that we've had with our group. So go ahead and hop in. Again, that's www.nolabelsnecessary.com. You gotta put into www for some reason or just click the link below if you're on YouTube. It's in the description somewhere. Peace.