# Pitching Music To Networks?



## YoungComposer (Aug 8, 2012)

Hi,

I am just starting out in film and TV scoring and I am looking to start trying to sell my music commercially. 

I have a couple of tracks ( around 3 mins in length) that i believe would work great for certain networks and their programming. i.e. An Olympics/Sports style piece, a Discovery Channel "celestial" work, a documentary track, etc.

I wanted to know how to pitch these pieces to the networks to use in their TV shows? How do I go about doing this? Sending an email to the director? Execs? Or perhaps an agent? Maybe another service?

Let me know what you guys think....

Thanks!


----------



## Madrigal (Aug 8, 2012)

Like in every other business, relationships are key in the music industry. You can always try to get in touch with creative directors, execs, etc. However, the networks you are referring to most likely already have relationships with some music houses/composers with whom they are used to work with. 

Your music may be exceptional, you may charge half as much but still, those factors aren't as important to big network/companies as the reliability, trust and quality that their music providers have been delivering for many years. 

I've worked for a music house for a while, I wouldn't recommend it but it's certainly a great way to gain experience and get your foot in the door. 

Building relationships is a slow process, you have to start small. Get in touch with young directors, creatives execs, artists that are starting out and show a lot of potential. Browse vimeo for some great visual artists, get in touch with them and show them what you have to offer, that would be a great way to build a portfolio. 

If you can get your music on beautiful pictures, it will be easier to get the attention of creative directors that work for big companies. They are always looking for something new and original in the end. 

Good Luck!

M.


----------



## RiffWraith (Aug 9, 2012)

Madrigal @ Wed Aug 08 said:


> Like in every other business, relationships are key in the music industry.



Yep.

If you are just staring out and do not have any contacts, about the only "in" you will have is with music libraries. Music Licensing of Hollywood, The Music Collective, Sonoton, Vanacore, etc....you can do a search. My suggestion is pitch your tracks to these libs, and see if they want them. If production libs reject them, then networks/execs/directors/producers/music sups are going to reject them as well, and you have saved yourself a ton of time, headache ansd dissapointment. If the libs do want them, then your stuff IS good enough, and that would be how you get started. But:

1) you can't go to a production lib with "a couple of tracks" - you need a bare minimum of 10 - preferably 20.

2) With an occasional exception, 3 min is way too long. Your tracks should be about 1:00 - to 1:30....that's it. A small sampling of your tracks will only get used any way (8 sec here, 12 sec here, 17 sec there). Music sups are like the rest of us - they have short attention spans. They have _literally_ hundreds of thousands of tracks out there to choose from. If you think they are going to listen to the entire _three min _of your track to decide on whether or not they want to use it, forget it - they won't. Regardless of how much they like it from the start. If they like it after 10 sec., and they want to use it, no need for your track to be 3 min. If they don't like it after 10 sec., and they won't use it, no need for your track to be 3 min. What are you doing that your tracks are so long? Changes? Different parts? Build up, come down, build up? No, to all of the above. Nothing wrong with a climax towards the end, but with lib tracks (esp. for TV and ad work) you should be quick to the point, without fancy, artsy arrangements and orchestrations. The orchestrations can be big and lush, but they can't slowly build over 3 min. If it's going to build, do it in 1 min.

Sorry if I sound flippant, but the reality is that this business is not easy - by any stretch, and there is WAY more competition out there than you probably think there is.

Good luck.


----------



## YoungComposer (Aug 10, 2012)

Okay, 10-20 short excrete should not be a problem however I have some questions regarding exactly what to submit.

1) should the styles/instrumentation be varied? And if so, by how much? A full orchestral piece in addition to a solomacosuti guitar track?


2) what is the shortest the pieces could be?

3) should the pieces be completed "mini" works or rather excerpts from larger songs?
Basically does the form have to make sense since they're only fonna use 30 secs max?

I'm sure there are many other questions I can't think right now, but both responses have given the step in the right direction. That being said, I could perhaps put up my "demo reel" before I send it off for your guys opinion.

Update coming soon.....


----------



## rgames (Aug 10, 2012)

Unfortunately there's no single answer to you questions - libraries and music sup's are all different.

Some want only full-length (2 min and longer) tracks. Some don't care. Some want edits and stems. Some don't want any edits or stems. Again, they're all different. Just write some music and start making contacts.

However, it is true that you're better off working with collections based on a theme rather than individual, unrelated tracks. It is also true that 99% of your placements will be snippets of your track.

rgames


----------



## jleckie (Aug 10, 2012)

Sort of related and makes for a great reality check:

http://www.filmmusicmag.com/?p=8191

sorry if its a tad OT.


----------



## YoungComposer (Aug 10, 2012)

Although I'm jut starting out (6-7 months so far, I have gotten some gigs for films and commercials including Lego, San Jose University, and short films from LA, NY and Europe but I really want to build a large resume. After all, I'm not even in college yet so I have some time....

Anyway, I wanted to know whether or not I should show libraries my reel as well?


----------

