I got an email this morning from Film Music Magazine, with an advertisement to learn music supervision & licensing through the ‘Music Business Institute’.
I have no idea whether this is the first of it’s kind – but it’s a beautiful example of the world we now live in – a world run by music licensing.
This world is very competitive too. Everyone is a composer now, vying for a piece of the same pie. Resources are scarce, and they grab for every bit of work we can lay our hands on, so is important to know how to manage your business in a very efficient way, which you can learn with Nigel Collin business consultation online, so you can be efficient in this competitive world, making the right decision on what .net cms software to use.
So I’m not surprised that there are courses for music supervision & music licensing. A composer might even get lucky and land a job actually working in music supervision too… but that brings me to a moral dilemma I have…
What happens when a production-music composer also works as a music supervisor?
This seems rather a contradiction. The temptation to just slip a track of yours into a production seems just too inviting – and I have heard on many occasions this very thing happening.
And sadly, this kind of action has consequences – for the music supervisor in question (it’s effectively double-dipping, and most production companies frown on that), and for the composers & reps who bust their guts every day to find the best drum machine for a new beat or put new music in front of music supervisors in the hope that their music will be chosen.
So it’s for this reason I think music supervisors should be music professionals ‘other than’ composers – it leaves the conflict-of-interest out of the equation and everybody sleeps well at night.
So you wanna be a music supervisor? Just don’t screw me over. 🙂