Everyone in today’s music business knows how important sync licensing to making money and growing a fan base.
Knowing how the most successful artists, publishers, labels and sync agents prepare, pitch and place their music, research projects, respond to music supervisor requests and network and build relationships and then implementing all these best practices the right way is the key to success in the business of sync.
And this is the mission of The Sync School, a six-week course limited to 15 students and designed by Music Supervisor Chris Mollere and Sync Summit Founder and Sync Agent Mark Frieser.
Chris and Mark have brought back their sold-out course after a two-year hiatus, and it’s an immersive, personalized and interactive course that will give you a host of insights, practical information and direct connections to elevate your sync practice.
The Sync School is a series of six two-hour plus courses (check out testimonials from past students here) created and presented by Music Supervisor Chris Mollere (current and past projects include Roswell, New Mexico, Legacies, Pretty Little Liars, Get Out, The Vampire Diaries, Stargirl, Antebellum and many more) and Sync Summit founder and Sync Agent/Music Supervisor (advertising, film, TV) Mark Frieser to provide you with a comprehensive curriculum designed to help you learn by doing, including how to prepare yourself and your music to respond to briefs from music supervisors and lessons on specific creative, legal, technological and practical aspects of music licensing and composition.
Here’s what you’ll get in the Sync Summer School if you join us:
- A six week all-online course taking place on Sundays from 3PM – 5PM ET (we usually run over) where we get into detail on the role and work of a music supervisor, how a sync agent works, the role of production libraries, how to research and approach decision makers on projects, the process of a deal and deal points from initial discussion to getting paid, metadata for sync and standard industry terms and business practices.
- Five unique assignments of past or active briefs for TV shows and film as assignments, many of which allow you to directly sync the music you crate to the video of a scene, and detailed feedback each week from Chris and Mark on all elements of how the music fit the scene, what could be done to improve the submission and the ability to re-submit for further feedback. Aspiring music supervisors and sync agents are given the chance to curate/select songs for each assignment.
- Five weekly office hours where you can schedule a few minutes every Tuesday between 3PM – 4PM ET where Chris and Mark answer any questions you have regarding assignments, or your music or business in general.
- Access to a exclusive slack channel for your class where Chris, Mark and the class can answer questions and interact with each other – and once the course is done, this slack channel lives on so you can continue to interactive with us and your fellow students.
- An archive of the videos from every course for you to view and download.
- A wealth of vital information that is worth more than the cost of the course alone, including:
- Buy-out agreement template
- Master licensing agreement
- Master and publishing (one stop) agreement
- Metadata types checklist
- Email introduction template
- Work for hire agreement template
- Sync agent agreement template
- Limited Power of Attorney for licensing assignment template
- An exhaustive music licensing glossary of industry terms
- Example of a quote request – what a music supervisor will give you when they want to start looking at licensing your music for a project
- A listing of sync agencies and production libraries
- A detailing of research resources document
- And PowerPoint presentations on deal points, email best practices, metadata, trailers and business practices.
- A “Next Steps” checklist for you to use after the course.
- Chris and my personal contact info so you can speak to us directly when you have an questions or issues – before, during and after the course.
- A unique playlist where you can share songs with your fellow students.
And a lot more, including personal attention and advice from both of me and Chris.
If you want to be successful in sync there’s no better way than to learn by doing – responding to music supervisor briefs, composing for media projects and getting expert, one-on-one advice from one of the world’s top music supervisors and sync agents. This is why we’ve created The Sync Summer School.
The Sync Summer School will begin on January 7, 2024, run for six weeks and is limited to a maximum of 15 people to insure that you and your music is given the personal attention necessary to coach, mentor and answer your questions on the industry, one-one one.
Whether you’re an artist, a producer, an aspiring music supervisor or a sync agent, publisher, manager or label executive, this Course will give you the tools and intelligence you need to position you for success in music composition and licensing for TV, film, ads, brands, games, apps, trailers and promos. These sessions include:
- Access to music supervisor briefs (one per week) for you to respond to in real time, with separate briefs provided to you for ads, film, TV, trailers, games, apps and promos.
- Feedback on your responses to briefs so you can refine your approach for success.
- Videos and real-time online chats to answer specific questions about aspects of the industry and the work you do as part of this course.
- Online listening and feedback sessions.
- How to find and engage with sync reps and production libraries.
- A focus on creating and pitching cover tracks – a step-by-step guide.
- One-on-one consultation office hours for you to get expert one-on-one advice from Mark and Chris.
- Documentation and templates, including, term cue sheets, quote requests, split sheets, licensing agreements and email templates.
- A glossary of industry terms.
- A step-by-step deal process sheet.
- A list resources for researching projects, sync agents and production libraries.
- A guide to storage, meta tagging and mastering services and technology.
After completing the Sync Summer School, you’ll have all the tools, understanding and knowledge you need to succeed in the business of music for media. And we’ll be there alongside you every step of the way. Each week includes one-on-one consultation, group chats, video instruction and documentation for you to use in your lesson plans.
Here’s a rundown of the overall lesson plan:
Lesson 1: The Music in Media Marketplace. In this lesson we’re going to review how the music in media business works, with a particular focus on the work and the job of the music supervisor and how a music supervisor works on a project from beginning to end – Chris will take you through his process, where music selection comes into the process, what people he needs to collaborate with, such as showrunners, directors, actors, composers, producers and editors, how decisions are made as well as how music is ultimately placed. You’ll be able to ask questions and get information throughout. And at the end of the lesson, we’ll give you two briefs to work on as an assignment for the next week.
Lesson 2: The Business Of The Business. First, we’ll go over your work from the past week, then we are going to talk about and go over all the documentation you need to use and the steps you need to take to make sure you have all the necessary paperwork to licensing your music and get paid. This includes an overview of industry terms (with a glossary provided), and documents provided to you to fill out and submit at each step of the licensing process. Also, we’ll go over vital information on publishing and PROs. Then, we’ll give you a brief and lesson assignment to submit to for the week ahead. All the documents we’ll provide you will be ones that you would get when going through the actual process, and these documents are yours to use in the future
Week 3: Allies in Sync – sync agents and production libraries.We’ll go over your brief responses from the week before, than we’ll do a deep dive into sync agents and production libraries – what are they, how they work, what are the benefits and downsides of working with them, researching, working relationships, , exclusivity versus non-exclusivity, retitling, deal structures and what you should expect from a sync agent and a production library that’s working on your behalf. Then, we’ll provide you with your next brief.
Week 4: Tools of the trade tech, storage, metadata, mastering and mixing. In this week, after going over your briefs, we’ll cover all the tools you need to use and how to effectively employ them – from going over storage options to filling out metadata sets to ways to properly mix and master your music. And of course a new brief.
Week 5: Listening, Research and Development. In this lesson, we’ll go over the brief from last week, then talk about the ways and means you can research projects and build relationships with music supervisors. Also, we’ll spend time listening to your music and best practices in creation and submission. And we’ll give you a detailed list of ways you can research projects and people and best pitching methods, along with website link s. And we’ll put you in the mind of a music supervisor – we’ll talk more about how briefs are created and how to respond to them – and at the end of the lesson, we’ll provide we’ll put you in the driver’s seat – you’ll write a brief based on guidance that we give you and then you can respond to that brief.
Week 6: Bringing It All Together.We’ll go over last week’s brief, then, we’ll use this session as a final wrap up of the course, where you can ask questions, we can refine any approaches or go through any questions you may have.
Until December 15, you can register for the Sync School and save $1000 off the standard $1999 rate. To register for Sync School, Click the button below: