(SIGNUP LINK HERE)
The next and finak edition of our Sync Sessions 21-week class is open for registration and classes start on January 25, 2025 at 12PM ET on goes until May 18th, 2025 – a total of 21 weeks including eight listening sessions, 14 classes, office hours, video archives and vital documentation for the discount price of $499 – 50% off the standard $999 rate until August 20th. Now here is a bit more about the class:
Successfully working in the sync industry involves a lot more than making great music or having a great catalogue and sending out music to music supervisors and other decision makers.
Having great music and making contact is of course is part of the path of success, but there’s so much more to being truly successful in this business in the long term.
Knowing how industry decision makers work and what they expect of the companies and musicians they work with, and implementing this knowledge in your sync practice will exponentially increase the degree of your success in building successful relationships with decision makers.
And, once you start to build these relationships successfully, you’ll start to be seen as a trusted resource, start getting briefs and music requests, which can ultimately lead to getting your music used in an ad, with a brand, in a film, a trailer, a promo, a TV show, a game, an app or in social media, the international market and custom music.
Additionally, having this knowledge will prepare you for finding and working with (or building your own) trusted sync agencies and music libraries that can help you connect to opportunities they receive from their network of industry decision makers.
Providing you with the knowledge of how to produce, prepare and present your music successfully to industry decision makers at a truly affordable price is the mission of our Winter Sync Sessions Course.
Before I tell you the details of the course and all the benefits, I want to present two important ways the Winter Sync Sessions is unique from the plethora of other sync courses.
First, as the founder of Sync Summit, it’s been my mission since we began in 2012 to help musicians, publishers, labels, managers, sync agencies, music libraries, aspiring music supervisors and coordinators to connect to with and learn how industry decision makers work, what they expect from the people they work with, and how, ultimately, you can become a trusted partner and work successfully in a very competitive industry.
We’ve done this online and in-person through our community, our Sync Summit events, our courses and free resources like our Sync Café show, listening sessions, podcasts, blog and resources like the Metadata Style Guide.
All of this has been done to educate and empower anyone looking to understand how the music for media industry works and how to work in the industry successfully, and is the foundation of our guiding vision in the development of the Winter Sync Sessions course.
Second, I wanted to create a course that would provide students with the comprehensive curriculum and personalized attention they need at a price far below those of other courses (including some of ours) so that the course would be more affordable to anyone who wants to take part.
That’s why we made the introductory cost of this course $499 – a full 50% discount on the standard $999 rate – a rate thousands of dollars less than many other similar courses on the Internet and less than the cost of one in-person ticket to one of our events. By lowering the price of registration, it is my hope that we’ll be able to open up the opportunity to take part in this course to more members of our community.
Here’s a snapshot of the lesson plan and what you’ll get when you sign up for the Winter Sync Sessions Course:
A. Week-by-week lesson plan – each lesson lasts for a minimum of two hours.
· Week 1: Initial introductions of students and instructor, discussion of needs, course elements, overview of the industry and first student assignment.
· Week 2: Industry decision makers – who are they and what are their roles. It starts with music supervisors and music coordinators are just the beginning – we’ll discuss who they are, their concerns and how they work – and what they expect from music providers. And we’ll review your submissions from the first assignment and provide you with your next assignment.
· Week 3: Preparing your music and yourself for making contact. What do you need to do to prepare your music before you send it out to decision makers, music supervisors, music libraries and sync agents. We’ll focus on and review the vital elements of music quality, metadata, ownership and payment as well as how to present yourself in email, social media and in person and basic tools you’ll need to present your music. And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 4: Research. How do you find decision makers? What tools should you use to research people before you make contact, and how can you use these tools most effectively? And, by using these tools effectively, how can you best build out your network? And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 5: Sync Agents and Music Libraries. What is the role of Sync Agents and Music Libraries? Who are they? What do they do? How do they work? How do you get paid? What should you expect of them? How do you find one that will be a good partner for you and your work – or if you want to be a sync agent or library, how do you get started?
· Week 6: Live listening session with sync agents and music libraries. This session will give you the chance to present yourself and your music to a panel of sync agents and music libraries. And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 7: Custom Music Houses. Who are they, who do they work with and what do they do? We’ll break it all down, including how they work with musicians and writers and how you can work with them.
· Week 8: Live listening session with custom music houses. This session will give you the chance to present yourself and your music to a panel of custom music houses. And we’ll review your submissions from the last assignment and provide you with your next assignment
· Week 9: How do brands and ad agencies work with music? Now that you have your music ready to present to industry players, the next few lessons will focus on different sectors of the industry and live listening sessions with industry players, starting with ads and brands. In this lesson, we’ll map out how the ad agencies and brands work with music, what makes them unique, who the decisions makers are and what they expect, and how you can best position your work for success, And we’ll review your submissions from the last assignment and provide you with your next assignment
· Week 10: Live listening session with music decision makers focusing on ads and brands. This session will give you the chance to present yourself and your music to a panel of music supervisors and other decision makers in advertising and brands. And we’ll review your submissions from the last assignment and provide you with your next assignment
· Week 11: Music in streaming, TV and film. How does music in TV and film work? Who are the decision makers and what do they need? What makes their work unique from other forms of media? And most important how can you be of service to their needs and projects? And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 12: Live listening sessions with music supervisors and coordinators in streaming, TV and film. This session will give you the chance to present yourself and your music to a panel of music supervisors and coordinators in streaming, TV and film. And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 13: Trailers and promos. How does the world of trailers and promos work? What are the similarities and differences? How do they work with music and what kinds of unique needs do they have? And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 14: Live listening sessions with decision makers in trailers and promos. This session will give you the chance to present yourself and your music to a panel of music supervisors and decision makers in trailers and promos. And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 15: Music for sports – live and otherwise. This week, we’ll take a look at sports leagues, teams and networks work with music. Who are they players, what makes their work unique, what kinds of music do they use and how can you provide music to these projects?
· Week 16: Live listening sessions with decision makers in sports. This session will give you the chance to present yourself and your music to a panel of music supervisors and decision makers in sports. And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 17: The international Market. What are the opportunities outside North America, including Europe, the LATAM market and East Asia? Who are the decision makers, and how do you work with them? And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 18: Live listening sessions with decision makers in the international market. This session will give you the chance to present yourself and your music to a panel of music supervisors and decision makers from the international market. And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 19: Interactive Platforms. How do games, apps, mobile, the internet and social media work with music, who are the decision makers and how can you work with them successfully? And we’ll review your submissions from the last assignment and provide you with your next assignment.
· Week 20: Live listening session with interactive platforms. This session will give you the chance to present yourself and your music to a panel of decision makers in games, apps, social media do online platforms. And we’ll review your submissions from the last assignment and provide you with your final assignment.
· Week 21: Final class. In this final class, we’ll go over any final questions you have, and go over our last assignment.
That’s the lesson plan. Now, here’s the full detailing of benefits you’ll get when you register:
· Access to all 21 sessions.
· Video archives of all sessions.
· Weekly video office hours to review assignments and general QA.
· A file of documents including guides, contracts and spreadsheets.
· Initial review of three songs from your catalog with one-on-one feedback.
· Post-class 20 minute consultation.
· Pop-up sessions with industry leaders on industry topics.
And likely a few more surprise benefits.
Considering the benefits, this is one of the best courses we’ve ever designed, all for the total price of $499 until August 20th. THIS IS THE LAST TIME we’ll host this course and there are only 20 spots available.
If you wish to register for the Winter Sync Sessions at the 50% discount $499 rate, click the button below to sign up.
