Welcome to Day Two of our look at Rumblefish, the music licensing and sonic branding company.
Yesterday we reviewed the essential details of their licensing procedures, contracts, and some great things about their model. Today we look at some ways that the Rumblefish CEO, Paul Anthony, suggests artists approach music licensing.
What Licensing Pros Are Looking For
Rumblefish sells emotions, not music. Clients are looking for themes and moods to mirror or inspire what they want people to experience.
Pros look for three things:
- Does the song convey an emotion? (happy, sad, tired, bored…)
- Does the song convey a situation? (Breakup, arrest, party…)
- Does the song portray a specific character? (girl in love, rejected lover…)
Up-tempo and happy songs are harder to find. There are many more sad songs written than happy songs. So, if you write great happy songs, push those. You have an advantage. (In my experience, this is true; it’s taken me years to learn to write a good happy song. I think they are much harder to write.)