Collaboration is key, especially in the music industry. Find industry professionals to work within our global community. Build your own DJ profile to showcase your past and future projects. From musicians, to live show opportunities and even graphic designers, find your perfect partner in crime!
One of the most important assets you have as a DJ trying to break into the music industry is your network. We understand that it can be tough meeting the right people and slicing through the noise. We have the solution. Submit your mixes directly to creative companies, A&R and music industry professionals worldwide through our Demo Submissions tool.
Our expansive catalogue of independent artists and tracks allows us to provide options for almost any brief and has given us the pleasure of licensing music to some of the most exciting productions across TV and Film.
The Autumn/Winter 2020 range by New Balance for Kids Korea collaborated with Anthony Browne clothing to introduce a limited edition line of apparel.
This music-driven campaign required an upbeat popular production and catchy topline suitable for children that could also be re-recorded with children’s vocals.
Bamtone’s “Win The Day” had the perfect fun and youthful energy which the songwriters Scott Horton and Briand Melanson composed. Happy to collaborate with the creative team at New Balance and re-imagine the track with fun children’s vocals, the official song was appropriately re-recorded and released as “Dream Song”.
Pink Flamingo Films Christmas time black comedy film “The Loss Adjuster” stars Luke Goss, Joan Collins and Kym Marsh.
Hapless insurance loss adjuster Martin Dyer feels his life is spiralling out of control but discovers that even when you reach rock bottom, that some clouds really do have a silver lining. All music treatment for The Loss Adjuster was passionately curated by Music Gateway’s in-house Music Supervision and Sync Team.
Including the official theme song of the film “A Christmas Wish” by Beverley Knight, a modern Christmas bop with a classical feel.
UK-based watch brand Uniform Wares, known for their British design and Swiss craft geared up to unveil their new selection of watches through an online campaign.
Their vision was to create an advert that represents their modern and minimalist style and required a track to capture the attention of a young, vibrant and mixed audience.
South London-based producer Ch!mes’ ambient mid-tempo Electronic track “Apparent'' with its distinctive vocal chops paired perfectly with Uniform Wares’ campaign and successfully appealing to their target audience.
American TV Network CBS’ ongoing crime drama “NCIS: Los Angeles” starring LL Cool J, Chris
O’Donnell and Daniela Ruah follows the Naval Crime Investigation Services team as they take on
the toughest cases in LA.
Souluvmuziq’s multi-genre songwriter and producer MadD3E’s uplifting R&B track “Know Me Better”
featuring vocalist Bluesforthehorn secured a seamless sync to begin episode 10 of season 11 on a
high.
Sky One Sky One’s action-drama series “Bulletproof” follows undercover police duo and best friends Bishop played by Noel Clarke (Kidulthood, Adulthood) and Pike played by Ashley Walters (Top Boy) as they pair up to take down criminal gangs across Europe in the pursuit of justice. 5ive 9ine is a genre-bending team comprised of U K Rap pioneer Sway Dasafo and Producer Zagor who landed a Sync for the series’ multiple action-packed promotional trailers with their high-intensity Rap track “Born A King”.
Actress Noomi Rapace (The Girl with the Dragon Tattoo, Prometheus) leads the action-packed Netflix thriller “Close” as a deadly bodyguard hired to protect a troubled heiress. Directed & written by Vicky Jewson.
Working with Music Supervisor Claire Freeman we secured two placements with tracks “Kerbela” from artist Orlando Lanzini and “Middle” from JP.
BAFTA award winning documentary following the reunion of brothers Matt & Luke Goss from the 80s pop band “Bros”. Watch how their journey to resolve past issues & deliver long-awaited shows at sold-out London O2 Arena gigs.
We secured a sync for Jess & James 60’s pop track “Move” through working directly with established Music Supervisor, Michelle De Vries.
Ridley Scott’s “The Terror” airing on AMC is a 10-part horror anthology series based on the bestselling novel by Dan Simmons.
With a catalogue full of nostalgic & vintage tracks suitable for period dramas, working with music supervisor Natasha Duprey we placed “Candy” by Jack Kluger & Jay Clever and his Orchestra.
The BBC drama “The Capture” was a huge hit. A 6-part mini-series about a persistent young detective who begins to discover a multi-layered conspiracy when handling the case of a British soldier who is charged with murder.
We placed a techno track for a specific club scene through Music Supervisor Michelle De Vries for this brief, which featured producer Politis’ track “Gravity” within the fifth episode.
“The Marvelous Mrs Maisel” is an Amazon original comedy/drama set in 1950s Manhattan following the life of Miriam “Midge” Maisel who is refinding purpose through stand up comedy after her husband leaves her for another woman.
We secured a sync for artist Lily Chao, whose track “Picking Tea Leaves and Catching Butterflies” was placed by Reel Music’s Robin Urdang.
“Moffie”, 2019 London Film Festival’s Best Film category nominee is a British South African LGBT biographical war drama written & directed by Oliver Hermanus. The film is based on an autobiographical novel by Andre Carl van der Merwe.
Working with Music Supervisor Jack Sidey led to us securing 4 amazing sync placements by 3 separate artists for this film including artists Denny Leroux, Structure and Steve Swindells.
Critically acclaimed Netflix Original series “Bloodline” is a drama/thriller based in the Florida Keys following the well-off Rayburn family (Kyle Chandler, Linda Cardellini) who has a dark past which slowly unravels leading to an uncertain future.
A sync placement was secured for the final season with “Never Been Good at Goodbyes” by Mike Goudreau & The Boppin’ Blues Band by experienced US Music Supervisor Mark Wike.
Biographical drama “American Soul” is a series on BET based on the ambitious story of Soul Train show creator and host Don Cornelius. Set in 1970’s Los Angeles, this is a series filled with iconic music, dancing & fashion.
We secured 60s soul group Bud Ross & Pals with their lively track “Do Your Own Thing” working directly with Music Supervisor, Ashley Neumeister.
“Ashes In The Snow” is a historical drama film based on true events starring Bel Powley (Diary of a Teenage Girl) & Sophie Cookson (Kingsman: The Secret Service). Set in 1941 during Stalin’s brutal dismantling of the Baltic region, Lina, a young aspiring artist and her family get deported to Siberia.
Our trailer placement was via LA advertising agency Soda Creative syncing independent artist NEVERGONE’s track “Motion”.
Def Jam signed artist & dancer Teyana Taylor stars in Universal Pictures’ “Honey: Rise Up and Dance”. Skyler joins a dance crew to compete for a college scholarship. Discouraged by her family & friends, she tirelessly practices amongst Atlanta’s underground dance scene.
Singer, Songwriter Tyler Shamy scored a major sync with “Work You Out” performed by Spencer Sutherland. Thanks to established Music Supervisor, Adele Ho.
An amazing 6-part BBC mini-series “The Little Drummer Girl” is based on John Le Carre’s best-selling novel. Actress and idealist Charlie gets drawn into high-stakes espionage. Starring Florence Pugh, Alexander Skarsgard & Michael Shannon.
Working with Air-Edel music supervisor Matt Biffa, we secured three sync placements for authentic Greek copyright music productions played during the opening scenes set in Greece.
eOne Entertainment’s “Private Eyes” is a crime-solving comedy/drama TV Series based in Toronto, Canada. It follows an ex-hockey player and private investigator who form an unlikely partnership.
The soulful R&B track “You Wreck Me” by Artists Kaki & Eddy Smith was placed in the opening scene of EP 9,, S3 through Canadian Music Supervisor, Dondrea Erauw.
Produced by NBC Universal “Girlfriends’ Guide To Divorce” is a TV series following a self-help book author who is recently separated and is navigating her life in Los Angeles as a single woman in her 40s.
Working with NBC in-house music supervisor Kerri Drootin, we secured a sync licensefor Artist Sounds Like Moving’s track “Away”.
Netflix original comedy series “Friends From College” stars Keegan-Michael Key (Key & Peele, Keanu) & Cobie Smulders (How I Met Your Mother, Avengers). Experiencing nostalgia from their time at Harvard together, a group of friends try to manage their complicated lives whilst entering their 40s.
Music Supervisor Manish Ravel licensed a selection of Polish club music frok us for a nightclub scene featuring Weekend’s tracks “Ona Tanczy Dla Mnie” & “Dalem Ci Kwiaty”.
British Indie comedy film “Destination: Dewsbury” based almost entirely in West Yorkshire, follows 4 old friends on a mission to see their dying friend Frank for the very last time. The BBC reported that this made director Jack Spring the youngest feature film director at the time.
A song sync opportunity within the trailer was secured here through Music Supervisor Will Smith using rock band The Great Cynics’ energising track “Whatever You Want”.
Through our sync portal, make the most of our sync placement postings and you can get your mixes played in film, TV, games, and advertisements. You never know when you’ll land a high-profile sync opportunity, and earn fantastic money from your music. Our sync licensing specialists will work to find you these opportunities, and take care of all the legal complexities.
We understand it’s crucial that you keep track of your projects, catalogue and metadata, as well as the professional network that you have invested so much time into creating. Manage all of your master mixes and playlists assets securely in one place. Additionally, you can store all your rights information for use whenever you need it, streamlining the process of collaboration, creation, and licensing like never before.
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Nowadays, it’s easier than ever to create your own music and get it out into the public sphere. There are labels of all shapes and sizes, access to affordable recording equipment, distribution sites designed for independent artists, not to mention anyone can upload a video to Youtube!
The rise of independent labels and musicians, as well as some incredible digital innovations, has dramatically changed the way the music industry operates. Major labels are trying to keep up with the adapting market and the flexibility that indies have without the traditional mechanisms in place. Successful music careers can now encompass so many different routes and directions. In short, it’s really a very exciting time to be an artist!
If you’re looking to make it in a career as a singer, songwriter, performer or recording artist, we’d strongly advise you to visualise what’s best for you, instead of rushing ahead before you’re ready.
Are you the right artist to be signed to a major label? Is your genre more niche and would an indie label suit your style better? Or do you want to be in charge of your own future and go fully independent? In this post, we’re going to be examining all the different elements involved in releasing music commercially to help you determine which route is best for you.
We’re going to start at the beginning of the music making process, the songs. Songwriting can come naturally to some, but to others, it’s something they’ll need help with throughout their careers. This isn’t unusual even at the highest levels of success in the industry, even the highest grossing artists work with songwriters or need help polishing their tracks. For others, however, it can be one of the defining characteristics of their sound.
Songwriting comprises writing both the lyrics and the melody in a song. Some artists are simply lyricists and rely on composers to develop the compositions, whereas some can do both. When you’re starting out, be honest about your abilities and decide where best to go from there. Depending on what route you want to take, major, indie or DIY, this will determine your next move.
At major labels, they have the resources to pull in skilled composers with proven track records in writing radio-friendly hooks. On the other hand, they may have songs lined up from successful, published songwriters for you to perform on in order to give your career the best start. If you’re signed to an independent label, their size and connections will determine how this process works. As there has been an influx in the number of artists and bands who are talented lyricists and composers, they may look only to sign artists who have demonstrated their ability to do both. Alternatively, they may ask freelance musicians to come into the studio and develop the song with you, also pulling in co-writers to smooth the edges of your song.
When it comes to writing music, the more people you have contributing their input, the less claim to the whole song you will have. When the revenue comes in from record sales and royalty collections, the profits are split between everyone who can lay claim to the copyright. There are a lot of varying stages to music making and publishing, (which we will get onto soon), but bear in mind the more people involved, the more wallets there are to feed.
Good music production can make you sound professional and polished, poor production can make your music sound deflating and amateur. Production can blow a big hole in your budget, but it can make a huge difference in how you’re perceived.
If you’re signed to a major label, they’ll likely fix you with an amazing producer in a top of the range studio to record your tracks. For the majors, record sales are the driving force behind their work. They want your tracks to have every chance of commercial success. If you’re on an independent, this process will again depend on their size a budget. They may have the budget to get you in a studio or they may not.
Access to consumer production technology is one of the contributing factors to the rise of the DIY artist. It’s perfectly possible to record a high-quality sounding track in your bedroom with just a couple of microphones and a computer. This has enabled emerging artists to get their foot in the door and publish their first singles and EPs without having yet signed to a label to further their career. Self-production allows for total creative control, which you may have to compromise if you were signed to a label. Alternatively, DIY artists can hire producers to help develop their tracks and inspire new ideas.
Production is another area through which you could divulge copyright to other parties. When a song is recorded there are two sets of rights to be allocated; the composition rights, (for the song and melody), and the master rights, (for the recording of the song). If you work with a producer they can lay claim to the recording. This is how major labels make their money as they claim the master rights, given that a member of their staff recorded it. The compositional rights remain with the ones who wrote the music, but as we said before, the more people who were involved, the more people who can take a share of those rights.
Self-production and writing original songs with an acoustic guitar enable DIY musicians and those signed to small indie labels to retain both the compositional and master rights to their recordings. This means that when their music is sold and streamed, they will receive a higher percentage of royalties and revenue. Successful indie artists can often earn more money from their music than major label artists, as artists signed to majors often only own the copyright to a small proportion of their songs.
This is how you monetise your music. Music publishing this the process of allowing your musical copyright to be exploited, for which you will be paid accordingly. You can earn mechanical and performance royalties through the playing, copying, streaming and broadcasting of your music, as well as open up sync licensing opportunities. Publishing is the process by which most artists generate their income.
When publishing music, there is another splitting of the rights. Usually, an artist will split their publishing rights 50/50 with their publisher. This does not affect the compositional rights, whoever they belong to they will stay with. Publishing rights are a different entity. If you publish your own music, you will own 100% of the publishing rights.
Publishing deals work by the licensing of the musical copyright by the composers/songwriters to the publishing company in exchange for their promise to promote, exploit and protect that property. Publishing deals can come in all forms, from single song publishing deals to full albums or multiple album contracts. When you hear about artists getting trapped in recording contracts with record labels, it’s usually because they sign lengthy publishing deals. Deals can also vary in the percentage of copyright licensed to the publisher. In purely administrative deals, the publisher only administers your music and pays you your royalties, usually for only 20% of the publishing rights.
Record labels are usually the music publishers for signed artists. Major labels tend to have their own publishing companies under their umbrella who collect your royalties on your behalf. Smaller labels may employ a publisher instead, or carry it out themselves. If you publish your music independently by registering your music with a series of performing rights agencies who will collect your royalties and protect your copyright, then you own the publishing rights to your music. Many DIY artists employ a publisher as collecting royalty payments from a series of global PROs is a time-consuming process and can be difficult to navigate in other territories.
The internet has drastically changed how music is distributed, many now questioning the use of analogue formats. Today people listen to and purchase music on CDs, vinyl, tapes, iTunes, streaming services, internet radio, Youtube and more variations of electronic downloads and airplay. The way in which you distribute your music says something about your music and the level of your reach.
Major labels will distribute your music on CD, online, on streaming services and sometimes on vinyl. The resurgence of the vinyl industry has been rapid but still not enough to account for a healthy portion of the industry. If the decision is made by your label to have your music is printed on vinyl, it signifies longevity and poignancy to your music, as well as marking your place as a top-selling artist.
Independent record labels may also physically print your music if they believe in your product enough, but the print order will be significantly lower than that of a major label artist. They will also distribute your music online to all the relevant, global streaming and online radio stations, as well as online purchasing sites such as iTunes and Amazon.
If you are an independent artist, you’ll have to work with a distribution company to get your music out there. Artists cannot upload their music for sale to online retail sites or streaming services as music can generally only be distributed by a company the site/service has an existing relationship with. Companies like CD Baby exist to help DIY artists affordably get their music distributed online and in stores to enable them to compete with major label acts.
It’s no use making music if you’re not going to tell anyone about it. Marketing can take an unknown artist to international stardom if done properly, it’s all about getting people to hear you and your music. Music marketing is about cultivating an artists image and identity, press is getting people talking and writing about your music whether it’s in magazines, online blogs or on TV. Both play a major part in music promotion.
This is where major labels budgets and pull can make a real difference; they can get new artists onto prime time TV for interviews, into iconic magazines, shoot incredible music videos and sponsor masses of online content. Radio is still a huge influence in the music industry and radio pluggers, people who lobby DJs for support on a record, can maximise airplay for artists on regional and national stations.
Independent labels and DIY artists don’t have the same resources, so rely heavily on social media and online content to promote their music. If the music is fresh and authentic then the press will pick up on it, especially if fans help create a buzz online. Social media has the potential to reach global audiences, but it’s only as effective as you make it. A strategic, authentic and exciting digital campaign can rival (or top!) the traditional methods used by majors if the music is worth the hype.
Due to the continued fall of record sales over the past two decades, touring has become the main source of revenue for artists signed and unsigned. Especially for major label acts who might not see much return in the way of sales and royalties through widely split recording contracts, touring is key to making a profit and paying off any debts they may have to the record label. It’s also one of the best ways to maintain your fan base, giving them a different level of interaction with your music. Put on a great show and they’ll come back next time. Merchandise is also a key revenue stream for artists with good profit margins and lots of customers at shows.
Touring is expensive however and if you’re independent then you should consider the costs to likely profits very carefully. Don’t go booking huge venues that you can’t fill, the venue might not agree to book you or you could end up paying the venue for losses on the door. Also, consider the money you’ll spend whilst on tour in terms of accommodation, food, transport and tour crew. Is this going to be a lucrative venture for you and can you sell the tickets?
As we’ve said, record sales are falling and have been for a long time. As technology advances and many are choosing streaming services and the freedom they provide, physical sales are struggling. Although the internet is blamed for dwindling CD sales figures, artists are still paid for each time their music is played through royalties. Streaming revenue is not as high paying as record sales however, as a single stream on Spotify only amounts to $0.006 per stream and that must then be split between all the rights holders.
Royalties are generated not only through streams, but radio airplay, public broadcasting on TV, businesses playing your music in their stores, bars and clubs and anywhere else your music is heard publicly. Royalties generated through ‘performances’ of your music are called performance royalties, but you can also be paid mechanical royalties. These are owed to rights holders when their music is copied, for example, Spotify pays both performance and mechanical royalties to artists when their tracks are streamed because Spotify host a copy of their music on their platform.
Royalties and revenue from record sales are paid to the artist through their labels and publishers. If you’re a DIY artist, your royalties will be paid to you through the PRO you’ve registered your music with and record sales through any distribution companies you may have worked with.
Sync licensing is another way that artists can make money from licensing the use of their music in TV shows, films, adverts or on video games. Syncs can be highly competitive placements to secure and great promotion for the artist. Syncs are usually acquired by publishers and music supervisors, although independent artists without these figures can still work to secure sync deals. The more high profile the sync, the more money you can expect to be paid for the license and the more exposure for your track. Parties looking to secure a song for sync licenses usually offer a one-time sync fee, or license fee, as well as accruing performance royalties for every time the song is played alongside the visual in public.
There are a whole host of success songwriters throughout the history of music, but here’s a shortlist; Elton John, John Lennon, Paul Simon, Bernie Taupin, Hank Williams, Jackson Brown, Neil Young, Van Morrison, Carole King, James Taylor, Bob Dylan, Joni Mitchell, Randy Newman and Leonard Cohen.
Most, if not all of these have songs in the rock and roll hall of fame.
Every artist will start their career by playing small gigs in local pubs and small venues, maybe posting covers of popular songs on Youtube. You could either be spotted by an A&R rep for a label, found online or simply break out on your own. From here you’ll start writing music, recording and publishing it, growing an audience, playing bigger shows and then making more music. The cycle begins again.
If you have the creative stamina, fan base and investment to continue your recording career then there isn’t a limit to where it can take you. We’ve all seen it where an artist has had a hugely successful debut album and a really promising start but their second record flops because they couldn’t maintain the momentum. If you can go on to produce chart-topping album after album, then you could go down in history. Over the course of your recording career, you may move between labels, countries or even into different roles such as songwriter or producer.
As you’re starting out on your musical career, it’s a good idea to join a musician’s union should you ever be in a position where you need extra support. There are unions for musicians all over the world operating in different territories and representing the rights of different players in the music industry. In the UK, there is the Musicians Union which lobbies the government for changes to the law to support artists and musicians. There is also BASCA, the British Association of Songwriters, Composers and Authors, who act as a voice and support system for their members.
One of the most successful contemporary recording artists of recent years is American songstress, Taylor Swift. She’s broken records across the world for her best selling albums, won ten Grammy Awards and is listed as one of Rolling Stone’s best songwriters of all time. Her career has lasted over 11 years since the release of her first album and she has sold over 50 million records throughout her career.
What makes her such a successful artist is not only her undeniable songwriting and musical talent but her theatrical live performances and her close connection with her fans. She has demonstrated her ability to write country and pop albums, her style evolving with contemporary cultures and the market. She has been in the public eye for years but receives special attention from the press, who have always speculated about elements of Taylor’s personal life, especially her love life. Whenever she releases new music, the media and fans don’t hesitate to make links to her past love affairs and her new lyrics, thus generating even more hype.
If you’re an artist looking to get your career in music off the ground, submit your demos to Music Gateway to open new opportunities, or check out our music promotion and sync licensing services.
Q: How much money does a songwriter make per song?
It’s estimated that an average songwriter makes $3,500 per year from their royalties, however, this figure is vastly inflated by the fact that less than 0.5% of songwriters earn 90% of all income generated from songwriter royalties.
Q: What skills do you need to be a songwriter?
Songwriters should have musical talent, creativity, strong communication skills, discipline, knowledge of music composition software and the ability to use mixers and synthesizers.
Q: How do you sell a song to an artist?
Songwriters rarely “sell” their songs. When you make a deal with a publisher, record label, or artist to record your song, it’s usually in the form of a contract or license. Sometimes a publisher will use the words “work for hire.” Be sure to consult a music business attorney before signing any contract.
Q: Do songwriters get paid upfront?
Just because labels are required (by law) to pay 9.1 cents per download to the songwriter (for the mechanical royalty) doesn’t mean they can’t pay more. … $100 is earned from radio royalties, $50 goes to the publisher (songwriter), $50 goes to the label (artist).
Q: What is the average salary of a songwriter?
$43,000 a year
Songwriter Wage. Songwriters write the lyrics for popular music and other forms of media related to or featuring music. They usually go to school to learn journalism, communications, English or music-related fields. According to State University, the average salary of songwriters is $43,000 a year.
Q: How do I become a good songwriter?
5 Exercises That Will Make You a Better Songwriter
Q: Do you need a music publisher?
Some music publishers are very hands-on with the songwriters on their rosters. These publishers usually have a creative team whose job it is to work directly with the songwriters to help develop their craft. … As a songwriter, before you sign a publishing deal, you need to know how your publishing company operates.
Q: What are the elements of a song?
The Mechanical Elements of a Song
Q: How do songwriters get signed?
How To Get A Songwriting Staff Writing Deal
Q: How do I copyright a song?
Step 1: Record Your Song in a “Tangible Medium” …
Step 2: Register for An Account at the U.S. Copyright Office Website. …
Step 3: Fill out the Copyright Registration Application. …
Step 4: Pay the Registration Fee. …
Step 5: Submit a Copy of Your Song …
Step 6: Wait for Your Registration to Be Processed.
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