Before You Pitch Your Songs To A Music Library

Music supervisor, Adonis Tsllimparis discusses everything you need to be aware of before you pitch your music to a music library.

ABOUT ADONIS

Adonis Tsilimparis is a born and raised New York City composer. He began studying guitar and piano at age 11. After graduating from College, he played in several pop and rock bands as a lead guitarist and singer. In the mid 1990′s he became a staff writer at commercial jingle house called Fearless Music, where he wrote and performed countless commercial ads.Many of his compositions could be heard in advertisements for Burger King, AT&T, Sprite and Pepsi. He continued to write at Fearless for several years before expanding to compose music for other film and TV Projects. He has composed music for TV’s ‘Guiding Light’, ‘All My Children’, ‘CSI:NY’, ‘NCIS’, and numerous reality shows on the E Network, and A&E Network. He has also written music for cable shows and several indie films. His recent film credits include “Naked As We Came” and “Wife Missing”.

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COMPLETE TRANSCRIPT

Welcome to another Cartne scam and rip off video. Our topic is before you pitch your music to a music library. Our guest is Adonis Tsllimparis.

Hi, everyone. My name is Adonis. I am a music supervisor. I work in Sync Licensing. I’m also a composer. I have a long history in this industry. Started out playing in bands, guitar player, then I moved into scoring, then I’ve done more sync licensing, and lately I’ve been focusing more on music supervision. I’ve worked on a bunch of shows. Right now I’m doing some freelance work with a label called National Records, where we place music into films, shows and video games. And I also work as a music supervisor and freelancer on the side as well.

So Adonis, what exactly is a music library?

So a music library is literally a library of music. So a music supervisor that’s looking for a whole bunch of hip hop, you know, songs for a movie, they’re going to most likely go to a library, a library that they know is good and they’re going to call them and they’re going to be like, Look, I need 40 tracks of this.

A lot of them have an interactive site where the music supervisor can go on there and surf and browse through all the tracks themselves. So that’s the main purpose of it. And if your stuff sounds good, you know, there’s a good chance it’ll be placed because they are constantly in touch with the productions and the films and the supervisors and the filmmakers.

What should artists know right up front about these libraries?

OK, there are two different types of libraries. There are exclusive libraries, and there are non-exclusive ones. The non-exclusive ones mean that you can pitch your song to them. They can take it in their library, but you can also take the same song and hand it to another library. Now, you might think, Oh, that’s great, because then I can spread my chances.

It’s actually not a good idea because nonexclusive libraries are not as highly respected. They don’t get as much placement. Why? Because a lot of productions don’t want that song in their movie and a hundred other things. So they prefer to deal with exclusive libraries. So your chances are better with an exclusive library. All that means is that if you give a song to one library, you cannot give it to another library. It doesn’t mean that you cannot actually pitch it to a film or something. It has nothing to do with your Spotify or your iTunes or your albums. That’s all it means. So that’s very important.

Does your song need to be reviewed before it’s accepted?

Of course, yeah. You’re basically submitting it, and they will listen to it and will say yay or nay. Then they’re going to ask you for an instrumental version and stamps. And if it’s a good exclusive library, there’s a very good chance that it’ll get placed. A very good chance.

How do you know a good library from a bad one?

Again, do your research, find out, make sure they’re exclusive, look at their site, see what sort of placements they have gotten. If you see a lot of placements, it’s very, very impressive. Find out how long they’ve been around. Ones that have only been around for a couple of years are still new. It takes many years to get established. If they’re more than ten years old, then you’re in good shape. If they’ve been around for 20, 30 years, you’re in really good shape. Talk to some people and get as much information as you possibly can.

Is charging to add your song a red flag?

That’s a serious red flag. Just run away. Another red flag, which I’ve come across in a couple of libraries. They’re trying to ask for a percentage of the master. Please run away from that. We are fighting. I’m part of the Guild of Music Supervisors, and we’re fighting to do that. I’m also a member of the Society of Composers and Lyricists, and we’re trying to fight to help to protect composers. So if you see any library asking you for money or asking you for a percentage of your master, run away, please.

Some libraries are passive and some are more aggressive, right?

Yeah. It kind of goes back to what I said earlier. Some are more prominent than others. There are some libraries that only do streaming stuff, YouTube, you know. Those are OK. You want to go with bigger ones that deal with films and television, everything. You know, they run the whole gambit. You want them. And I’m not really allowed to say library names and plug them. But if you type in music libraries, you’ll see some of the big ones on top when you search. Yeah. Make sure it’s them.

How do I know if my song is good for film?

Well, there is a big difference between the music for advertisements. Music for films will tend to be more scoring. They’ll be more orchestral stuff, and that’s why they’ll hire a composer most of the time. A song for a movie will tend to be something more dramatic, something that’s more epic sounding. Again, it depends on the film.

It might be a movie about urban life, and they need all hip hop. Some films don’t have any scoring. It’s all soundtrack, so it depends on the movie. You know, the best advice I can give to any composer is don’t think about it. Oh, I should write something for them. Just write what you write. Just be you. And your song will fit for whatever fits. You know, just have faith, as they say. Just write what you write.

Do they need every style of music?

Every style I’ve gotten. I’ve gotten briefs for the weirdest thing you can possibly imagine. I get a lot of briefs. I’ve gotten briefs in polka music. I’ve gotten briefs for Arabic hip hop, you know, Chinese hip hop, you know, just weird stuff all the time. So every genre can get in there somehow. And hip hop is getting bigger and bigger and bigger. So anyone out there who thinks that hip hop. Well, I don’t really. I can’t give the music for the film and tv because I do hip hop. No, hip hop is huge, man.

That concludes our video titled Before You Pitch Your Music to a music library, we want to thank Adonis Tsllimparis for sharing his in-depth knowledge and expertise.

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