Music Licensing Success (After 1 Month)

Music Licensing Success (After 1 Month)


Music Licensing DirectorySo it’s been a little over a month since I started the 90 Day Music Licensing Challenge (1 month 3 days to be exact), and since there have been some interesting things in the works.

In Aaron’s course, he gives you a lot of how to(s), scripts, and insight which are very useful especially to someone new to music licensing.

Over the last month, I’ve done nothing but use Aaron’s scripts (as the basis for my own) and leads. Some of these leads require a demo to be sent either Mp3/upload or physical CD.

Quick Suggestion – If you were linked to this page, start from the beginning and go through to the end of the case study – Start here

I’ve purposely ignored CD submissions because I’d like to send those all out at once rather than sporadically. I’ve also been submitting my demo(s) everywhere (that I see fit) and cueing up tracks to upload into the libraries I’ve been accepted into.

I’ve also request libraries to ‘listen’ to my demo before allowing me to submit to their library. Some libraries don’t require a demo, this isn’t due to lack of quality control, this is simply the way they operate.

I hate spinning my wheels, I like to know if my material is what the company/library needs (quality-wise). I contacted each library and asked if I could send a demo in any way.

To date, there hasn’t been 1 library that has told me “no you can’t send a demo”.

I went out on a limb and emailed those who stated they only accepted CD submissions and asked if I could send mp3s (for demo purposes). Some said “no”, others said “yes”. I’m just really against sending in CDs unless I know for sure that the music is to be added to the library.


1 Month…. 62 songs… Still Not Enough!

If you’ve been following my blog you’d know about the my New Years Resolution of submitting 1000 tracks to music libraries. Well, in the month of January I was able to create 62 songs, if you do the math that’s only 2 tracks a day (not many).

2 x 31 = 62 ….62 x 12 = 744. That’s not too far off from 1000, but still not 1000. There are 7 months that contain 31 days, 1 (February) has 28 and the rest have 30. So by the math given If I stick to 2 tracks a day I won’t reach my goal.

I’m fine with 744 as I have plenty of music in my arsenal to make up the difference with, but I’m going to pretend that I don’t.

In order to pump out 1000 tracks by the end of the year, I’m going to need to create 3 tracks per day (3 x 365 = 1080). That’s going to be 1,064 for me though because I screwed up the month of Jan.


Here’s My Workflow – Creative Process!

Well, the process I use is quite simple. Start off with an 8 bar hook and from the hook I create the: Verse, intro, and breakdown or build up. I’m not working with a vocalist or collaborating with anyone, nor am I trying to create the next big hit, so the track is done whenever I say it’s done.

Keep in mind I’m only giving myself 30 minutes per track, that’s plenty of time to create a hook and subtract instruments/sounds to create the other parts.

Music Licensing Success


When it comes to mixing the tracks, I just open songs of mine with good mixes, strip the old arrangements and build new ones. This is how I do it, this how I get things done, this is what works for me.

Lastly, I have tons of inspiration around me: TV/Movies, Video Games, Vinyl Records, Ambient noises, random sounds…Inspiration is everywhere!


Early Music Licensing Success?

I can’t really call it ‘success’ yet because the money hasn’t hit the bank account, but they’re great opportunities that I’m taking advantage of.

I basically just followed the course and began submitting my 1 sheet (also known as a resume) along with a short demo to contacts listed in Aaron’s 2013 Licensing Directory. I was contacted by 2 different supervisors asking if I’d be willing to contribute some of my music to a small film project.

Long story short, I jumped on these 2 opportunities! We’ve already gone through most of the paperwork, I’m just waiting on confirmation of deadlines and pay compensation before I get started.

It’s always good to work with music supervisors because they are generally connected with the project at hand and they don’t get paid unless the tracks they represent get placed. So what this means they’re pushing, speaking, and negotiating on my behalf.

So again things are looking great, I’m still plugging away getting a lot done, and meeting a lot of new contacts in this industry.



If you have questions please do not hesitate to ask.


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30 thoughts on “Music Licensing Success (After 1 Month)

  1. Whats styles of music are your trying to place? And are they all with vocals or some instrumental only cues?

    Also be careful burning out. Its one thing to set a goal but when you start turning out tracks that quickly either the music suffers or your suffer. When you work like that its easy to hit a creative wall and struggle to get through it. I worked toward a cue count goal last year and did great through the first 3/4 of the year but by the time I hit the last 3 months I was done. Just did have anything left and didn’t want to hear anything. Luckily it was around the holidays so it was a nice change of pace but really man be careful . you still have to enjoy what you do at the end of the day.

    1. Hi Peter,

      Thanks for stopping by, I really appreciate your insight. Let me answer your main questions and reiterate a few things.

      The genres of music I will focus on all have a time sig of 4/4 rock/hiphop/punk/funk etc. Most of the tracks I’ve placed are hiphop/dub and rock.

      These are instrumentals only. I’m not thriving to be creative/innovative…I’m following trends/doing what’s already working.

      I’m also keeping these compositions at a 2 min max and I’m not starting from scratch.

      Doing this will not only give me a lot of material to shop to libraries (both music/loop based) but it’s going to give me source material to rifle through when I’m working on future projects. When I do burn out (because it’s going to happen) I step back and design sound, that always gets me back in gear.

      I love composing and sound design it’s what I do for a living 🙂 Stay in touch my friend.

  2. First of all, thanks for all the insight Greg, I’m trying to break into this aspect of the business myself right now.

    I was wondering what you do in terms of mastering. I’ve been reading around and they seem to stress quality production and subsequently I think I spend way too much time trying to mix & master a perfect track. Do you find this aspect of the process something to focus on significantly?

    1. I don’t do any mastering, I just make sure the mix sounds good. If you start off with good sounds and you understand basic mixing you’ll be fine.

      The better quality (and non freq conflicting) sounds you use the less editing and manipulation you have to do for a good mix. Same goes for number of tracks. The more tracks you have the more complex it is to mix.

      1. Hey Greg I find your videos interesting and enlightening. I thought you’re music submissions should be mixed and and mastered and ready for commercial use. I spend allot of time trying to get that aspect right.Thats one of the main reason I haven’t submitted any of my work. At what point does that become necessary. Should you wait until your music is being placed, before you deal with the mixing and mastering phase.

        Thanks! for your input

        1. You music needs to sound as best as possible. Mastering doesn’t = great quality. The outcome of your master replies on your mix. Just focus on having a good clean mix

    1. I’m glad you’re liking the post and thanks for taking time to leave a little feedback (means a lot).
      The funny thing about people is we all have different tastes. What sounds good/bad to us composers doesn’t always resonate the same way to clients. With that said, I’m sure you have more “decent tracks” than you think you do, you just need to get them in front of the right people.

  3. This is great post. I’ve signed up for the news letter and am very interested to hear your experience through this process. it’s very inspirational.

    I know you’re using the resources in the program to make your contacts. How long has it taken from first contact to get a reply? Also, do you have to follow-up a lot or are you just making a single contact with each lead?

    1. Hey Tony,

      sorry I didn’t see this question. The replies vary. Some companies have replied in within the same day, others months down the line.

      Follow up varies as well.

      – Greg Savage

  4. I’ve been reading Aaron’s blog for more than a year.
    I also bought some of his books and courses.

    It was interesting to read live feedback about the Licensing Challenge.

  5. Hi Greg
    Really interesting stuff. I like your approach to recycling arrangements, got on that myself. Just done Aaron’s 90 day course recently, he really knows his stuff. I am doing instrumental stuff, mainly stuff like you hear on tv ads, eg: Apple, etc. Also, here in UK there seems to be a big market for cheesy 70’s and 80’s rock, it isn’t what I like but it’s all over commercial radio here, so, cheesy rock it is. My artistic dreams now end up in Cash Converter!
    Last point, 1000 tracks?!
    Wow! I did the maths like you and set a goal of 2 tracks a day but to be honest am way off that mark, although the more you do it, the faster you become.Good luck with what you are doing.

    1. Hi Miles,

      People (only composers) give me crap for recycling my tunes. They say it’s un-creative, but I mean, the objective is to please to the client not the other egotistical producer (unless they are the client of course). It’s funny you mention the”cheesy sound” ← a lot of companies seem to love it.

      Yea, I had to up it to 3 a day in order to hit that 1000 goal. I think 2 a day is great and easy to accomplish especially if you’re just creating instrumentals. Things get a lot harder when working with full songs (vocals and what not)

      Thanks for your support

  6. Just happen to see your youtube vid.. this is very interesting. New to this arena thanks for making it interesting and easy to understand i am going to sign up for your newsletter. Looking forward to hearing more of your knowledge, also looking at 90 day challenge site too.

    thanks for your help.

  7. Greg,
    I appreciate getting your emails, man. I was just wondering to myself what to work on, and how. Instrumental, vocal, loop-based, etc. You cleared ALL of that stuff up for me in this post.

    I’ve spent the day digging up all songs from 20 years ago. It’s great to know I can do 2 mins, with less parts instead of so many parts and 4 mins.

    I can’t believe it took me this long to find the info you provide. Keep it coming, man. When I get my first placement I’ll have to send you money for a 7=11 coffee or whatever you drink.

  8. Hey greg, i got just a few questions about this post. 1. I was a little confused about your beat making process. When you make a new beat, Do you start by opening up an older beat? Then, do you just change the instruments or do you change things completely into different chords notes melodies etc?

    1. “I just open songs of mine with good mixes, strip the old arrangements and build new ones”

      Same instruments, just different arrangements

  9. Hi Greg, i did have the exact same project just before finding your blog. create 1000 tracks in one year. But i checking the competition and with technologie, there’s a lot of people doing this now. in 2004 i did 10 songs and send it to Pumpaudio and just forget it. it began with may be $500 a year to $1500(my best year) only from these 10 songs but only maybe 5 was good songs. But since Getty image bought Pumpaudio they pump my profit to their pocket, they lower the earning from %50 to %30 grrrrr!

    I don’t know if it worth to invest the time to making yes, 3 tracks a day and like you my projet was to make good catchy not to complicate song in 30 minutes.

    Best regard

  10. Greg,
    Just want to thank you. I just found out about you site today. I’ve been watching your videos on youtube all day. Sometimes it feels like I’m on the outside looking in when it comes to this music industry. But your videos and articles encourages me to believe that the dream is much more attainable than I thought it was just 24 hours ago. I will be joining your site in a couple days. I make hip/r&b instrumentals. But I’m ready to go to the next level and do this fulltime. I’m interested in knowing the right steps to go about doing this, and I believe you can help.

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