© 2017 by Emily Kaye for NARIP

Be sure your PRO metadata is current.
Respond in a timely manner when a music sup or licensing person reaches out.
If music can be made available for one-stop clearing, that always makes things easier and quicker.
Find out your contacts at the labels and publishers who license songs to film / TV / digital.
Stay close to your teams at the publishers and labels, make sure they know you’re interested in sync opportunities and that your approvals can be obtained quickly.
Have your own or your team’s contact info available on Web sites and social networks so music supervisors and licensing people can find and contact you easily.
If co-writers are involved on your song(s) and if you cannot clear on their behalf, have their contact information available.

What To Avoid When Licensing Music (Do's and Don'ts)

Do have a W9, invoice and agreement readily available once the song(s) has been confirmed to help expedite payment.
Do have .wav files available if needed when requested. At least have an MP3 available. Instrumentals and stems are good to have as well to send on request.
Do understand the difference between Master and Sync use.
Do understand how to read master and sync agreements.
Do understand the various uses (BV, VV, BI, Live Performance, etc.).
Do ask questions that are relevant to the potential placement.
Don’t call repeatedly to find out if a piece of music has been placed.
Don’t push for placements for loads of artists, focus on 1 or 2 with a “story.”
Don’t hustle music supervisors and licensing people with unsolicited material, we know how to find you.
Don’t ask uninformed questions about fundamental licensing issues. Be informed. Do the homework.

Top Four Things That Help Get Music Licensed

Have a strong social networking presence. Many placements are based on social networking numbers.
Create a LOT of content. The more we see and hear, the better.
Tour, tour, tour. Word of mouth is everything.
Market and promote all day long. Build your base and your story.

About Emily Kaye, Head of Music Licensing and Artist Rights Acquisition, Live Nation

Emily spent the majority of her youth growing up in Hawaii and in the South Pacific – surfing and sailing before she could walk. She left Hawaii after high school to attend UCLA. Coming from a legacy music publishing family – Lester Sill (signed songwriters Jerry Leiber and Mike Stoller, co-founder of Philles Records with Phil Spector), being her grandfather. And Chuck Kaye (Rondor Music, Warner Chappell Music and Dreamworks Music), being her father. Emily is married to singer/songwriter, producer and director Jesse Dayton. Jesse has collaborated with Rob Zombie, Waylon Jennings, Johnny Cash, the iconic punk rock band X, among others. Jesse recently appeared in the films Halloween 2, The Sinner, and Two Step. He wrote and directed the film “Zombex”, which stars Malcolm McDowell, Sid Haig and Lew Temple. Emily has been an A&R executive with A&M Records and Timebomb Recordings (offshoot of Arista Records), co-founder of The Chop Shop Music Supervision, Director of Music for Sony Pictures Entertainment, Head of Music for GSD&M Advertising, Producer for Foundation Editorial (commercial production company) and currently Head of Licensing | Artist Rights Acquisitions with Live Nation.

A&R Executive Archive