 You sit down for the one, two hours, however long it takes for you to create a track. You know, you submit it, and then as long as it's getting used, as long as it's playing, you get paid for that. So five to 10K is definitely attainable, just creating music consistently on a consistent basis, you know, submitting to publishers who, you know, are consistently publishing, doing what they're supposed to do. Yeah, your royalties, they start to stack up. How fast do you think someone can start sync and get to 100K in sync? Um, you know, it depends, you know, I think depending on which lane you decide to go down, it can be quicker for some, and it could be slower for others, right? Because you have different, you have different spaces. So if you're kind of focused more so on the ad space, right, where, you know, you can easily see a five figure upfront fee, just for an ad campaign for a brand, for just one placement, and you know, and then still have the ability to re-license that same track multiple times. So it could happen faster in that space, whereas if, you know, you start off more so, you know, background instrumental cues on reality TV shows, it may take a while to kind of build up, you know, because a lot of that pay is gonna be back in royalties unless you're doing like full songs and they're placing those songs, then sometimes those come with upfront fees as well. So it just depends on which routes you go, but always like to set realistic expectations for, you know, producers that I'm working with and coaching and say, hey, like this is something, this is a long play, you know what I mean? The reason I got into it was for the fact that you can kind of build up that residual revenue over time through royalties, just from your music airing over and over and over again. So, you know, it took me a solid, you know, five, six years to see significant income every quarter from, you know, from music that's been playing on TV shows and things like that. And then, you know, as I work more, you know, in this space, you know, the bigger paying opportunities, you know, started to come about. So, you know, it really just depends on the individual and rich route they decided to go. You actually got my mind going. There's so many things you touched on. Like one, you said significant income coming every quarter you looked at it, it's like a passive thing that you build up. So what would you define as my significant income at least like five 10K every quarter that comes in that you don't have to like work for at that point? Like at that point, you're literally, it's all working for you for real, for real? Exactly, yeah. And that's, yeah, five to 10K is definitely attainable. Just creating music consistently on a consistent basis, you know, submitting to publishers who, you know, are consistently publishing, doing what they're supposed to do. Yeah, your royalties, they start to stack up. And, you know, you'll have a lot of your old tracks working for you on top of the new stuff that you're submitting. So it just starts to pow, you know, just, it just starts to stack and snowball over time to where, you know, you, your music is working for you. Sit down for those one, two hours, however long it takes for you to create a track, you know, you submit it, and then as long as it's getting used, as long as it's playing, you get paid for that. So every time, you know, Love and Hip Hop re-hears an episode that had your music on it, you're gonna get paid every single time, you know? So every time they have those marathons, you see a nice boost in the royalties because they went through, you know, a whole season and then had the, you know, the recap shows that they have at the end of the season. So yeah, man, over time it adds up and that's not including, you know, the upfront fees that you can see from stuff. And those can range from a few hundred dollars. Sometimes nothing, it really depends on the project too. But, you know, typically, you know, if you're getting a song placed on a TV show or series, even on a streaming network, you can see anything from, you know, a few hundred dollars to, I think, averages up to about three, 5,000 upfront sync fees. So those tend to add up as well. Now, talking about these residuals, like obviously, especially something you wanna put long-term effort to, you wanna get a sense of what that money looks like. We know streaming artists are always complaining, right? In terms of what that check looks like. We're seeing actors and songwriters complaining about their residual check specifically. We're not even talking about upfront. Let's just say for, I'm sure it varies. So maybe we need to talk about the different categories and things like that as well. But what does a residual check look like for a producer? Like is it $20? I've been saying like a lot of actors be like, man, I got $20 for this episode, they're re-aired or whatever. Yeah, so shoot, hey, on the streaming side, we're complaining too, because that's been the cause of a lot of issues, man. So I'll break it down for you. So we have, you know, regular TV, like local TV, you have network TV, then you have like cable TV, right? So when it comes to your music being aired and played on a TV show, all of those have different prices. So just a non-network channel, you know, something small, I don't know, not like a major network, right? So something like a UPN or like some random local channel, it's not gonna pay as much, right? So you may see a few dollars in royalties per performance or airing or whatever. Then you could go to an NBC or ABC or CBS and that same placement could pay you, you know, a few hundred dollars, right? And then you can go to the cable and then it's like in between the few dollars and, you know, a few hundred, you could typically see, you know, anywhere from five cents to 20-something dollars per airing depending on the channel because then when you get in the cable, now you got different networks and channels that pay differently. So all of those different tiers are just different fees, different royalties. And then once you get to streaming, it's pennies, like in it's little fractions of pennies. So it takes a while to add up to the pennies, but the streaming pays the least out of all of the different outlets. So I think that's something that, you know, we still have to fight for as well, just to get them to increase that because, you know, just the whole model that's set up now, it's just archaic and it needs to be updated to pay better for creators. But, you know, all those different things play a role into how much you get paid. Also, how long the track is used plays a role in how long it gets paid, you know, a few seconds, you know, you could see, you know, not that much, but then once you pass kind of like this 45-second minute mark, then it, you kind of get like this bonus, I guess, for the length of it being used. So the longer it plays, the more they pay. So, you know, the goal is to, you know, hopefully they play something for a longer period of time, but you're gonna have a mixture of all types of stuff, some three, five-second stuff, some 30-second stuff, you know, some minute and a half. Once you get into sports, then you're looking at longer, you know, longer placements there. So it's all over the placement. It really, really depends on the network. Time of day that plays a role as well as how long they're using the track and the type of placement. Because if it's a vocal song versus an instrumental, the vocal's gonna pay more as well. So, so many different factors that play a role into how much you get paid. Yeah, so is there like a, I guess, like a most coveted or a most sought after type of placement in sync? Cause I remember we had another guest on it talked about like getting movie trailers is like really big on a lot of producers. Like you get the trailer is kind of like, you've made it a little bit in that sense. But like, well, I guess one of those placements that are, there are a little bit more lucrative and probably more sought after because of that. Yeah, feature placement. So that's the placement where, you know, say they take your song and there's no one talking over. It's just your song, just playing to picture. So we call that like a feature use. So that pays more. And then the next one up is honestly, man, I think of the theme, you get a theme song, like that's, I think that's probably the most coveted thing because, you know, as you know, from some of the classic shows, man, like that show can, you know, get syndicated and just air for decades. And you just continue to get paid, you know, depending on what the agreement was. But I think that's probably one of the most coveted and the TV space is just landing the theme song. Then of course the trailers are dope, which I feel like that's a whole land in itself, like just composing trailer music is a skill. And then, yeah, those feature placements. Let's talk about the fact that most artists fail to understand that it doesn't take forever to monetize your audience. We had an artist literally begin to take off and make $20,000 from his brand new audience in the same month. But how is that possible? It's because we're in a new era, baby. Yes, you wanna continue to build a relationship over time, but the first time you make money from your audience can happen today if you understand the new age music marketing funnel for artists. So if you wanna hear about this approach and how you can apply it to yourself, I made a completely free video to watch at www.nolabelsnecessary.com slash monetize. You gotta make sure you put the www or if you're on YouTube, you can find the link in the description and check out how we help monetize artists for completely free. I promise it'll completely change how you see things. The theme song seems, to me, out of those potentially the dopest, right? Outside of, because one, like you said, you get the passive income for so long, right? If it works out to that point, right? But on top of that, like the theme songs that are really like household named theme songs after you get to that point, you kinda have some level of celebrity that you can begin to capitalize on yourself. You can start to market yourself as I'm the guy who wrote that song, right? Whether that's professionally or outside of the industry. So there's more social capital that you can pull from as well. Facts, yeah, I agree. What about that third one? You said, oh, trailers. So trailers being at the top and then the other one you call features. Can you describe that one one more time? Cause I think I see a common thread, what do you mean by features again? Like feature use. So a feature use, when we talk about sync licensing, a lot of times we're talking about synchronizing music to picture. So a lot of times our music is underneath dialogue. So it's a conversation happening between, you know, a couple of the actors or something like that or in a commercial, you know, there's somebody talking doing the voice over the commercial. But, you know, when you talk about music and it's only the music, all you hear is like the song, you can hear it clear. It's not like a source use where it's like coming from a car stereo or a radio in a restaurant. It's just like loud and clear as they're transitioning maybe from one scene to the next, you know, you hear 30 seconds of this song and, you know, those are huge for a couple of reasons. So it's huge because it's a feature use. Feature use just pay more in royalties. And, you know, if that song is just prominent and it's in the forefront and people rock with it, now they're pulling out their phones and they're shazamming it. So if you're an artist and you get like a feature placement on, you know, TV show, movie or whatever, now they're shazamming, now your streams are going up. You know what I'm saying? Now you can also add that credibility to your brand as an artist. Like, yo, like, for example, some friends of mine, APX, they had, we had a track placed that they did on Napoli Ever After with Senai Nathan on Netflix. And, you know, they're able to say, hey, like this song was featured on Napoli Ever After and they like, they will forever be able to attach that to their brand as an accomplishment. So it's a win-win, you know, to have a use like that. Even a background use, because you can still, you know, add that to your credits. But yeah, it's a win-win. You can't really lose with, you know, getting your music feature like that. Wow, what's up? It's Brain Man, Sean. And if you like this clip, you can listen to the full episode on Spotify, Apple or wherever you stream your podcast. But if you want to keep watching, we've placed a video that will be so useful for you conveniently above. Go ahead and click that link.