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Today’s episode is with superstar music supervisor Jen Malone. She has placed music and worked on Euphoria, Atlanta, Creed 2, The Resident, Boomerang, Baskets, Shelter, Lady Dynamite, and Step Up. That’s just scratching the surface. She has worked in sync licensing now for over a decade and is so well established respected.
We dug in deep on sync licensing. We talk about what a music supervisor does. She also gave advice and tips on how independent artists can get their music synced and things to look out for in the contracts, quote requests, and things you should strike from the deals. We also discussed how to setup your music to pitch to supervisors effectively and have the best chance of having your music synced.
11:43 – What is a music coordinator?
13:06 – How pitching music has changed over the years
17:03 – How do you like to be contacted when?
19:03 – Are there any tools that you use for audio clearance and recognition?
23:19 – How do you find new music?
24:43 – What’s your process like when coming into a new project?
25:45 – Who created the sonic vibe of Euphoria?
26:40 – What is the process on working with the director?
30:20 – When did you come into Creed 2?
34:05 – Can you work on multiple shows at once?
35:25 – How much does your personal taste influence your selections for the projects you’re working on?
37:55 – How do you pick music for scenes that are difficult? How do you create such a juxtaposition?
42:30 – Are there any standout independent musicians that you’ve seen get a “break” from one of their placements?
45:55 – What are the music discovery trends you’ve seen over the past years?
49:20 – Do you curate any playlists?
50:25 – How do you stay organized when you’re working on so many projects at once? 52:00 – What are the differences working with the different platforms? Is there a standard placement rate?
53:55 – The Discovery channel devaluing music and screwing over musicians
59:35 – Jen Malone sides with musicians and helps them negotiate licenses
1:02:55 – How much negotiation is allowed with the contracts you’re working with? What advice would you give to someone who wants to have their music synced?
1:09:55 – How do you define making it in the new music business?
