8:13 “Create something that grooves, that’s got good energy, that builds, that’s focused, staying in one lane, one genre, and I’m bobbing my head to it…GREAT!” - best tip!
This is great - I’d love some in depth info on *how* to write faster. I think you’ve done interviews with at least two composers who mentioned that they are quick right? It would be great to hear in depth interviews from them that focus on how they write quickly.
Hey Man. I work with a Sync agent because of you.. I have been working for him since Jan 2023. I have also been working on those fast briefs and some of my best sounding tracks have been created from nothing within 24 hours. Crazy how the deadline can bring out some magic.. strange stuff...
Getting the general idea down before I have a chance to judge it works for me. I quit sabotaging myself worrying about what order things should be, intros, what compressor, which drums, all of that. Just steam roll out a general idea without overthinking. My speed has skyrocketed. Don't waste time judging it before it exists, don't do the library's job of judging it before it's done.Took me 10 years to figure it out.
I didn't even start watching this video before I liked it. Don't even need to hear the explanation to know what you're gonna say. Banging out a good track in 2hours or less becomes a huge skill and advantage to any producers working in this field. Fast but also excellence - best quality as possible.
Usually I have an output of 2 tracks per week. Whenever those 24 hour briefs come from my library I usually get 4-5 tracks done in a week, without diminishing the quality. A bit of pressure definitely helps with boosting productivity 😅
Are these opportunities payed accordingly? Is it worth it financially? For such tight, stressful deadlines where I drop everything to make a full track in couple of hours, I would expect a fair compensation.
That all can vary. Some may come with an upfront licensing fee but mostly are usually paid in backend royalties. And that’s only assuming that the track(s) you are submitting get picked and used by the music supervisor or whomever put out the brief to your library/publisher. That’s why sync licensing is a numbers game. If you’re looking to do it only with the anticipation of getting paid for your time and efforts as quick as you’re putting out the track, then this really isn’t the industry for that mindset as you might be responding to tons of briefs with this deadline only to not start seeing any income for a couple years. Unless if you’re getting nothing but direct to supervisor briefs where you’re guaranteed placement when you submit and not in competition with any other composers/producers who are under the same production library as you, answering to the same brief. But if you show this type of ethic Jesse is pointing out, your library is more than likely to send you personal briefs if they are confident you can deliver quality material in the deadline. But I get it, it’s hard to always invest that time and effort without something in immediate return. You just got to be willing to invest in yourself and keep rollin. 👍
Some are. Some aren't. There's a LOT of sweat equity and creating proactively or speculatively in this business. Some briefs have a demo fee, and some don't. It's completely up to us how we want to approach it.
@@mattjocke thanks for the answer! When you say, "some come with the upfront licensing fee", do I understand correctly that very often there isn't any kind of sync fee involved and you depend only on backend royalties? Thanks
@@homeproject4108that is typically how the majority can be, essentially royalty based. But don’t get me wrong I’ve had briefs that show to have potential sync fees for pretty high amounts, but I’m not the only one being offered that brief and it also contingent on it getting accepted by the music supervisor. I have not come across any brief fees where I get paid just for submitting. It’s all based on whether the track(s) get picked and then the sync licensing fees are paid to my publisher to split with me 50/50, or however the split is described in the brief. Plus I would retain the writers share of royalties still. So essentially, one would not recommend chasing the sync fees. Instead it is mainly giving your best to the brief and being patient. My mindset is, if it doesn’t get accepted for that brief then no biggie. It will still get pitched by my publisher for other opportunities and will still be me contributing to my catalog. It all depends on perspective and whether the juice is worth the squeeze for your work-life balance. I juggle a 9-5 day job so I get that any time I have to myself I want to keep lol. But if I don’t keep grinding, I’m missing out on getting that next great track uploaded that could serve someone’s project needs. 😊
@@SyncMyMusic If copyright protection matters. Are libraries only open to the legacy music industry? Interesting. Wonder how long that will last, if so.
@@SyncMyMusic I guess my question is if a client wants a piece of synch music to use, why they would care about copyright. I can see the music producer caring about unauthorized use, but if the work is specific to a client's request, not sure it matters as much to the producer either? The client pays the producer for the service of generating music with AI.
8:13 “Create something that grooves, that’s got good energy, that builds, that’s focused, staying in one lane, one genre, and I’m bobbing my head to it…GREAT!” - best tip!
This is great - I’d love some in depth info on *how* to write faster. I think you’ve done interviews with at least two composers who mentioned that they are quick right? It would be great to hear in depth interviews from them that focus on how they write quickly.
Hey Man. I work with a Sync agent because of you.. I have been working for him since Jan 2023. I have also been working on those fast briefs and some of my best sounding tracks have been created from nothing within 24 hours. Crazy how the deadline can bring out some magic.. strange stuff...
Getting the general idea down before I have a chance to judge it works for me. I quit sabotaging myself worrying about what order things should be, intros, what compressor, which drums, all of that. Just steam roll out a general idea without overthinking. My speed has skyrocketed. Don't waste time judging it before it exists, don't do the library's job of judging it before it's done.Took me 10 years to figure it out.
I didn't even start watching this video before I liked it. Don't even need to hear the explanation to know what you're gonna say. Banging out a good track in 2hours or less becomes a huge skill and advantage to any producers working in this field. Fast but also excellence - best quality as possible.
Solid video Jesse! Thank you for all you do!
This is so in line with some of the notes I've been taking on the Sync 60 challenge!
Thanks Jesse 🤘
Wow those are tight deadlines 😮
Usually I have an output of 2 tracks per week. Whenever those 24 hour briefs come from my library I usually get 4-5 tracks done in a week, without diminishing the quality. A bit of pressure definitely helps with boosting productivity 😅
Facts ❤
Are these opportunities payed accordingly? Is it worth it financially? For such tight, stressful deadlines where I drop everything to make a full track in couple of hours, I would expect a fair compensation.
That all can vary. Some may come with an upfront licensing fee but mostly are usually paid in backend royalties. And that’s only assuming that the track(s) you are submitting get picked and used by the music supervisor or whomever put out the brief to your library/publisher. That’s why sync licensing is a numbers game. If you’re looking to do it only with the anticipation of getting paid for your time and efforts as quick as you’re putting out the track, then this really isn’t the industry for that mindset as you might be responding to tons of briefs with this deadline only to not start seeing any income for a couple years. Unless if you’re getting nothing but direct to supervisor briefs where you’re guaranteed placement when you submit and not in competition with any other composers/producers who are under the same production library as you, answering to the same brief. But if you show this type of ethic Jesse is pointing out, your library is more than likely to send you personal briefs if they are confident you can deliver quality material in the deadline. But I get it, it’s hard to always invest that time and effort without something in immediate return. You just got to be willing to invest in yourself and keep rollin. 👍
Some are. Some aren't. There's a LOT of sweat equity and creating proactively or speculatively in this business. Some briefs have a demo fee, and some don't. It's completely up to us how we want to approach it.
@@mattjocke thanks for the answer! When you say, "some come with the upfront licensing fee", do I understand correctly that very often there isn't any kind of sync fee involved and you depend only on backend royalties? Thanks
@@homeproject4108that is typically how the majority can be, essentially royalty based. But don’t get me wrong I’ve had briefs that show to have potential sync fees for pretty high amounts, but I’m not the only one being offered that brief and it also contingent on it getting accepted by the music supervisor. I have not come across any brief fees where I get paid just for submitting. It’s all based on whether the track(s) get picked and then the sync licensing fees are paid to my publisher to split with me 50/50, or however the split is described in the brief. Plus I would retain the writers share of royalties still. So essentially, one would not recommend chasing the sync fees. Instead it is mainly giving your best to the brief and being patient. My mindset is, if it doesn’t get accepted for that brief then no biggie. It will still get pitched by my publisher for other opportunities and will still be me contributing to my catalog. It all depends on perspective and whether the juice is worth the squeeze for your work-life balance. I juggle a 9-5 day job so I get that any time I have to myself I want to keep lol. But if I don’t keep grinding, I’m missing out on getting that next great track uploaded that could serve someone’s project needs. 😊
Even Haydn needed to compose new pieces every week, under the patronage of Nikolaus Esterhazy. 🤓
Urgent, urgent, urgent.........and wait......😉🤣
You can dramatically increase speed by generating music using AI.
@@BerkmanHouse correct, without any copyright protection and risking your relationship with libraries
@@SyncMyMusic If copyright protection matters. Are libraries only open to the legacy music industry? Interesting. Wonder how long that will last, if so.
@@BerkmanHouse right now it’s all that matters for commercially viable music. If that goes out the window, yes the rules of game will be rewritten.
@@SyncMyMusic I guess my question is if a client wants a piece of synch music to use, why they would care about copyright. I can see the music producer caring about unauthorized use, but if the work is specific to a client's request, not sure it matters as much to the producer either? The client pays the producer for the service of generating music with AI.
@@BerkmanHouse th-cam.com/video/xp6G0IRhcC0/w-d-xo.html