I met Terrell Burt via Taxi Music, which is where many others and I, first learned about music licensing.  Terrell is a rapper and songwriter who can’t remember a time when he didn’t love everything about music. But following the traditional route was not quite working out as he had hoped.  I think many of us pursuing a career in music can relate to this.  Sync licensing, however is another avenue to take in your music journey.    In this blog, Terrell writes about his journey as he transformed from a traditional artist to one who now has many placements in Film & TV with shows such as The Young and the Restless (CBS), Keeping Up With The Kardashians (E!), All American (The CW), Fuller House (Netflix), The Rookie (ABC), The Neighborhood (CBS), Claws (TNT), Love & Hip Hop: Atlanta (VH1), and Black Ink Crew (VH1) and more!  Here is his story and advice.
 
 

     As I look back over my 15+-year journey as an artist, I can’t help but think of it in various stages. I became intrigued as a teenager, not only by the idea of lyrical expression, but the idea of actually taking it somewhere. While honing my craft from my late teens until my early twenties, I was on a relentless endeavor as a traditional artist. When I use the term “traditional artist,” I’m referring to the aspiration of building a buzz around your artistry, independent of any label backing, and making as many people as possible aware of what you do. That meant something different than it does now. Now, that might mean growing your social media following or trying to go viral; but before the digital age of streaming and prior to social media being what it is now, that meant performing live at any and every venue as much as you possibly could while actively releasing music (on CD’s. Remember those?), repeating this cycle, and taking it as far as you could on your own until you hopefully caught the eyes and ears of a manager, agent, or label to help take your career to the next level.

     I don’t mean to date myself, but I came up in the era where ownership and creative control weren't highly valued (rappers like Chance the Rapper and the late Nipsey Hussle are/were big on this), so remaining an independent artist wasn’t the ultimate goal for me.
 
    For many, it was always meant to be a temporary destination until you progressed on to bigger and better things. Well after years of consistent devotion and activity on my local music scene, my bigger and better never came. I was doing what I thought I was supposed to do for years, but I had hit a plateau and couldn’t get the music to connect outside of my city—even with the Internet and its possibilities at the time. I took it as far as I could with the limited resources that I had, but there was no manager or label waiting around the corner for me.

     Fast forward about two years from the dreaded plateau, I got into music licensing (also referred to as sync licensing) and then that’s when I realized that this was my “bigger and better.” Music licensing is defined by studiobinder.com as “a right held by someone to distribute and/or use a piece of copyrighted music. Often seen in movies, a music license is also used for commercials, television shows, internet videos, and any other visual medium that wants to use a song with permission.” I had first heard about sync licensing back in college (my Business of Music teacher had a placement with his band on MTV’s The Real World), but I didn’t really know the ins and outs of it until I joined TAXI Music back in 2014. TAXI helped me to redefine, and even expand, my idea of success. Once I did that, everything changed. My approach to artistry, songwriting, collaborations, etc., it all changed because I finally had a clearer idea of what I wanted to do and where I wanted to be. This was not the case on my traditional artist journey. All of this caught me by surprise for the better, but when it did, I leaned into it 100%.

     The main distinction between my journey before sync licensing and now is this: Traditional artistry = making a sale (album, EP, single, stream, etc.) to a consumer once, while sync licensing = making repeat sales to the same consumer over and over again.

     Repeat sales in sync licensing is when the same song gets licensed multiple times. This has happened to me on multiple occasions and I’m still amazed every single time. My most recent placement is in an independent film called TÁR starring Cate Blanchett. The song “B U NIQ” was created with my collaborator Karina “Kaz” Zabala seven years ago. Artists on the traditional journey are not usually actively promoting songs that were released seven years ago. Your fans, as devoted as they might be, are not largely interested in your older material (unless you are at a certain stage in your career). They are primarily chomping at the bits for new releases, and with 100,000 songs being uploaded to Spotify and other DSPs daily (according to https://variety.com/2022/music/news/new-songs-100000-being-released-every-day-dsps-1235395788/ ), this can be exhausting to keep up with and to cut through all of the ruckus.

     Now streaming may throw sort of a monkey wrench in my above illustration and cause it to be challenged, because technically you can have repeat consumers if they’re continually streaming your music. Before streaming, my illustration was a bit more robust because consumers were likely only buying one physical copy of your project for themselves. They may have purchased other copies for family or friends, but repeat consumers pre-streaming were not the norm. Or if a parent had a child who really wanted a CD of their favorite artist/band/group, there was a high probability that the parent would only be buying the child one copy. But I think that my illustration still has legs because the artist should not put their end-all be-all into streaming. Because it’s so easy and affordable to create music now, you may be vying to retain the consumer who very well could be a repeat consumer, but there are 99,999 other high quality songs to compete with. Not to mention, there’s not a large enough ROI (return on investment) to devote too heavily into it in my opinion, though some gradual progress is being made (please visit
https://www.nmpa.org/publishers-streamers-reach-deal-for-highest-streaming-royalty-rate-ever-heres-how-it-works-billboard/ 
for more information).

     Even with over six million streams of my viral TikTok song “Limits the Sky,” (please visit https://ritzherald.com/houston-producers-song-takes-off-on-tiktok/ for more information) the ROI has been significantly greater for me in sync licensing. For example, I released a song back in 2012 called “Visions of a Future” on all digital outlets. My all time payments to date, after ten years, was only $13.72.
​     Three years later, I got this same song signed to a music library (the terms "publisher" and “music library" are interchangeable in sync licensing) and one year after its signing, it got placed in a TV show called Containment. The sync fee, or the upfront payment paid to the copyright holders of the song to synchronize (or sync) the song to picture, was $500.00. I made more in one year from the initial signing to placement than I have in ten years of streaming and digital downloads. And this was three months after my very first network TV placement on a show called Grandfathered starring John Stamos. My portion of the sync fee for Grandfathered, after splitting half with my co-writer Kaz Zabala, was almost more than the entire sync fee for Containment. These two placements were some of the confirmations that I needed to go all in for sync licensing.

     Nothing that I did as a traditional artist compares to what I’ve been given the grace to do in sync licensing. But truthfully, I wouldn’t change or re-do anything because everything that I’ve experienced and all of the people that I met along the way was for a reason greater than me.

     I will never discourage an artist from learning how to market their music or growing their social media following, because at the end of the day you have to do what works for you. But I know firsthand what it feels like to do all of the right things and it does not go the way that you intended. Can you pursue both? Of course you can, in theory, but depending on your stage of life (family, 9 to 5 job if music isn’t your full-time income, hobbies, etc.), it may be difficult to juggle both pursuits. If an artist dedicated their time to learning and understanding sync licensing the way that they have dedicated to their traditional artistry, you may not regret it.

     For the artists that this may have resonated with, and for those who would like to transition into sync licensing, these are some of my top practical tips. I learned all of this from TAXI Music, so please check out their website at www.taxi.com when you have the chance.

1. Typically, songs for sync jump right into the "meat" of the piece from the opening notes after a short intro. The reason for this is because a music supervisor on a TV show or film is going to be sifting through hundreds of songs, and they'll press play and listen to the first few seconds of a track before deciding if it's something they like. So those first few seconds must count and the song has to represent itself fully from the beginning. Long intros just don't work for film/TV songs like they might for radio-type songs.

2. When writing lyrics for film/TV, make them universal/general and avoid specifics like names, places, dates, times, and brands. The reason for universal lyrics is that you don't want to hinder any potential placement opportunities for your songs. Besides Hip Hop, I love classic R&B/Soul music and Gladys Knight’s “Midnight Train to Georgia" is a timeless song that I appreciate. But in theory, it doesn’t necessarily work well for film or TV because it lists a specific time of day and a state. It would only work in a scene about a train going to Georgia. But the industry moves fast, and while new content is being made every day and creating endless possibilities for sync artists, you wouldn't want to wait around for a project like that. A lyric like "Taking a train to the city" would work much better because it can be applied to any context anywhere in the world at any time.

3. Start paying closer attention to the music that is used in the TV shows and movies that you watch. Music that is synced is typically not the focal point. It is usually more in the background as the characters are engaged in dialogue that progress the storyline. My placement in Spenser Confidential, a #1 on Netflix at the time right before COVID lockdown, was like this. The actor Winston Duke had on a pair of headphones and my song “Gimme That” (a co-write with my friend Owen Chaim) was what he was listening to. When I posted on my social media pages about the placement (as I tend to do), many said that they couldn’t hear my song and they were absolutely right. It was faint because the focal point was the dialogue between the characters of Winston and Mark Wahlberg meeting for the first time.
 
A few websites that will help you on your Sync Licensing Journey
 
Tunefind.com – find music in your favorite shows and other shows
Taxi.com – learn about music licensing through a weekly on-line web cast, their forum, and music conference and music briefs
Ispot.tv- music in ads
Syncsummit.com - learn about music licensing through weekly free on-line meetings, listening sessions and conferences
RobinFrederick.com- courses on writing hit songs as well as songs for Film & TV
Licensingsongs.com- Free checklist and mini courses on Sync Licensing
 
Terrell Burt is a rapper and songwriter who can’t remember a time when he didn’t love everything about music. Writing lyrics and recording music on his computer as a hobby during his teenage years, has progressed into Burt becoming a successful rapper with placements in TV shows. While working full time and still pursuing music through film and TV placements, Burt received his Masters of Business Administration from Saint Leo University in the spring of 2017. In September of the same year, he married his bride, Lindsay, who has been an encouragement to him in these pursuits.
 
http://www.terrellburt.com/
 

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by Guest writer Curtis Dean of Sage Music

     It’s hard to think of any business that wasn’t impacted by the pandemic. Every single industry took a big hit. And, since 2020, most of the things have gone online. Even schools and classes have moved online along with online entertainment and online music lessons. 
     In this post, we look at how COVID-19 affected the music industry. What new challenges do artists face and what new opportunities do they have? What's the future of live performances and are live streaming services here for the long haul?
Let’s take a look...
 
The Business Model of Music

     Global music is estimated to be a more than $50 billion industry. It has two major streams of income. The first comes from sales of tickets for live music performances and concerts which make up 50% of the overall revenue. 
     The second revenue stream is recorded music. This entails sales from digital downloads, physical media, streaming services, and synchronization revenues (such as licensing for movies, TV, shows, games, and advertising). Recorded music today is at an all-time high (close to the pre-piracy era). This shows that the world is embracing stream services. Both consumers and music labels seem content with it. Stream services today make up for more than half the recorded music revenue.
 
COVID-19 Hit the Industry, Not Just Artists

      COVID-19, quarantining, and lockdown meant the end of live performances. This collapse of the live industry affected not just artists, but hundreds and thousands of people who were employed alongside. This includes transportation, equipment companies, crew members, sound engineers, venues, hotels; and everyone in-between.
 
     According to a report published in July 2021 - the international dance and music industry witnessed a steep decline in 2020. It was down to $3.6 billion. That’s a 54% decline. Since the lockdown, 74% of musicians experienced unemployment with a steep plunge in their annual income by $36,000 a year. 
Several venues in Nashville lost around 70% of their annual revenue. The industry suffered around $17 million in lost wages. To make things worse, most artists could not go to a studio for recordings to utilize the digital platforms. 
 
New Ways to Engage with Fans

     It’s here already. Think of services like Instagram TV, Twitch, and several others. Although these services existed even pre-covid, the pandemic just gave things a big nudge. It expanded the available audience. Record companies are now facilitating it via live streaming equipment to performers.
     With streaming services emerged newer ways of monetization. We now have a membership to access early/exclusive data on artist channels, as well as paid-commenting features. There are also virtual gatherings happening. 
Take Tencent Music Entertainment for example. This China-based company recently released data about how the live streaming services impact their revenue. According to the company, almost 80% of musicians who are receiving incentives saw a rise of 50% in their profits. Around 40% of artists admitted seeing a double increment in their income. 
It’s getting clearer by the day that these new ways for venue providers, labels, and musicians to engage with their fans might be a long-term strategy to connect with audiences.
 
 
How Live Performances Fit Into This New Paradigm

     One segment of the music industry that took the brunt of the fall has to be the live performance. Although vaccination programs are underway, it seems as though live music performances won't be making any return any time soon. 
Musicians will have to face this reality and sooner the better. It’s time for them to think of new ways to make music collaborations and access to their music possible while also keeping fans entertained. 
     The barriers posed by COVID-19 can be circumvented in new and unique ways. There are online collaborations; for one thing. Take Colonel Tom Moore, for example. He recently became the oldest person to be featured on the top UK charts. He collaborated with NHS Voices and Michael Ball to release the cover of You’ll Never Walk Alone. The fundraising project raised more than 30 million euros.
 
How Platforms Are Changing

    Music sharing and streaming services are further changing the music industry. For example, musicians are now holding virtual concerts to share new releases and raise funds (as we shared already). 
 
     Not so long ago, Spotify came up with a new feature that allows fundraising for musicians via their profiles. Other popular platforms for artists are - 

• Soundcloud Go - Music fans can access more than 135 million tracks on this platform. Musicians can monetize their content as well while being paid for views per stream.
• Mixcloud - This platform is perfect for DJs. It allows sharing new mixes to reach a wider audience. Any time music is mixed, artists get paid.
• Bandcamp - Bandcamp allows selling music directly to fans while fans can buy from their favorite artists/musicians.

 

Will the Pandemic Revolutionize How People Access/Listen to Music? 
     We need to face it - COVID has already changed/revolutionized the ways fans access and listen to music. For example, there’s a massive shift in drive-time and talk radio music habits. More people would use Alexa and Siri to find their favorite artist rather than accessing the traditional in-vehicle music experiences.
Also, since more people are at home, there’s more time for entertainment and music. Deezer and Spotify saw a change in their listening habits during the pandemic. There was a major overall increase in the listening metrics. In the UK, radio streaming rose by 18% while Global (owner of Capital FM and LBC) saw a 15% increase in online radio listening.
     There’s a new lifeline for musicians all over the world; thanks to new and emerging music platforms like Spotify. Other examples include - Stagelt, Bandzoogle, Beatstars, Memberful, Nugs.net, and BandsInTown. All of these are super easy to access. Artists can keep track of their performances and sales metrics.
 
Adapting to Consumer Demands

     Technology is at the center stage of the music industry controlling everything from production, promotion, to distribution. It’s clear that fans are fine with streaming content online. It’s not surprising that there was much protest initially by several musicians owing to unfair compensation.
But, they are now forced to accept this new model as it’s what customers want. Platforms like Apple Music, Pandora, and Mixcloud have made things effortless on part of listeners. Features like creating playlists and on-the-go listening are some of them.
 
In Conclusion

     Love it or hate it, musicians cannot do without online streaming services today. They need to find new and innovative ways to engage with fans. Offering exclusive content with promotion codes is one way to do that. When used creatively, the possibilities for artists are endless today. 

​Curtis Dean writes on behalf of Sage Music School, where they base lessons on the science and research of the psychology of learning. Their effective teaching methods create confident and capable students who enjoy the happiness of making music.


 
 
 

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Today's blog is from friend and collaborator Amanda West.  Amanda is from Ireland and knows first hand about collaborating world wide. This is especially useful during a pandemic.  Even as the pandemic winds down, these tips are great for collaborating around the world. 

 
     At first glance these topics don’t appear to have much in common, but in fact all three are inextricably interlinked. Before any of us had heard of Covid-19, Coronavirus or a global pandemic, most songwriters and composers collaborated face to face in the same room, and almost looked down on those who co-wrote songs via an internet connection. But Covid hit fast and hard, and our world changed forever.
     A few of us folks already co-wrote remotely, and for us nothing changed.  But for the majority a choice had to be made.  They either had to write songs alone for the foreseeable future, or turn their co-writing practices upside down and inside out (pun quote intended).
     So to see how online collaboration can happen I’ll describe my own main co-writing models.  I say models plural because I co-write with many different songwriters and almost every situation is unique.  And also I mainly write for sync (although not always lately), as opposed to artist pitches hoping for a hit, so maybe the process differs a little because of that, I don’t know.
        1. Facebook Messenger.  I (as the lyricist) send a full lyric draft to my co-writer (the singer, musician and producer usually) via email as a Word doc.  They then create the chords and melody, and we message each other back and forth via Facebook Messenger to fine tune the words and the melody.  Often we also voice chat via the same platform.  Then when we are happy with that, whoever is producing then produces the track fully.  We then discuss that when it’s completed and any required tweaks are made before mastering it ready for pitching to sync libraries and music supervisors.

     2. Google Drive.  This is how I do it most often…  I post a rough first draft lyric, usually with no editing done yet, into a Drive folder for a project, as a Google document, then share the link with my co-writer.  We then discuss it via voice chat or a phone call, edit and rewrite live as Drive allows for live editing and viewing.  The co-writer then goes away and writes a melody etc.  They then post the draft song as an mp3 into the same Drive folder and we listen together.  More editing of the lyric, and maybe the melody etc.  It then gets produced as per #1.

     3. Zoom.  This is fairly similar in many ways to like in a room together.  The production etc. is done as per #1 above. Multiple Zoom sessions can be used when you need them.  This way is rather fun and I love it.

     4 .Email.  This is still used by some going endlessly back and forth, but it is fairly slow and clunky nowadays compared to all the other more face to face and instant messaging apps available to us. 

     Personally Google Drive whilst on a live Zoom or similar voice call is the best for me, and my favorite way to do collaborative work online.  It suits how I like working with others, and can be a lot of fun too if it isn’t all serious work!
     Maybe you use a different method to collaborate online?  We’d love to hear from you in the comments about your experiences in this particular area of pandemic life.
     However you do it, the big secret is to find the way that suits you best (and hopefully your cowriter also).  Try experimenting with different processes, you never know you might be pleasantly surprised that what appeared to be a mad idea, actually works rather well.
     And what will happen once the pandemic subsides?  Will most folks go back to writing in a room together and not using the internet?  I don’t think so.  Of course some will because they are close to each other physically.  But this online way of co-writing has opened up a whole new world to people who previously rarely co-wrote because they their remoteness to other songwriters and composers.

Amanda West is a lyricist, songwriter and composer living on the west coast of Ireland. Her songs have been used on TV, in films and all the other media outlets we now have around the world.  The latest releases are here on the home page, but the Music section has many more songs covering a wide selection of genres, emotions and moods.
For more information about Amanda, and to view her music business services go to:  https://www.sheeaunmusic.com/
©Amanda West 2021

     So, you are going to a music conference.  The music conference is a place for opportunity, connection, fun and can be life changing.   But to make sure you get your money’s worth, use that old boy scout & girl scout motto: Be Prepared!
 
     When getting ready for a conference, get a hold of the agenda if provided.  See WHO is going to be there, and WHAT classes, mentor & listening sessions are scheduled, and then plan YOUR schedule.
 
Decide on One Main Learning Goal
     Some times there are so many courses, panels and pitch sessions at conferences it can be overwhelming. So decide what you want to accomplish at the conference.
     If you want a specific mentor (if they are offered) Do your research ahead of time and see what types of music the person is seeking.  Get in line or register early to have the best chance at getting your mentor.  Or perhaps see if you can get a consult session with them at the conference.
 
Other goals could be:

•      Learn to write appropriate lyrics for Film & TV
•      Hone your production skills
•      Learn how to construct better Instrumental cues
•      Marketing your music  
•      Pitching music appropriately
•      Exchange info with  industry professionals 
•      Meet new co-writers

What do you think you would most want to learn?
 
Next, Be Professional.  
     Bring professional looking business cards. Places like Vista print always have good deals. You can search on-line for coupons.  Your business card should be clean and simple. It should display your name, title, email, phone, website, logo and/or picture.
 
     Having a website helps. Even a one page site that looks simple, neat, has a short bio and examples of your work  will make you look professional
 
     Bring a CD either a CD you have released and want to pitch OR a CD with about 10 songs that best represent your music.  (Make sure the music information has been uploaded to the Gracenotes database so that your data is not lost when downloaded from the CD to another computer)  Or burn an mp3 cd that contains properly tagged files.  See my blog on Metadata for more information:  http://michellelockey.com/musicsync/metadata-schemetadata-heres-why-you-should-care     Make sure the CD is properly labeled with your name, email, phone, and song names.  I label the actual CD AND the CD case.
Note that an mp3 CD may or may not play in some Cd players so be sure to bring a regular audio CD for pitching sessions.  
     Another option is to bring a download card.  I use dropcards.  It’s an extra step for people to go to the website to download, but it is another option rather than bringing so many CD’s 

Network & Pitch the RIGHT way
     It is so tempting to run up to every industry person & throw your music into his or her hands.   After every panel people usually swarm them.  I usually wait till the crowd thins a bit then introduce myself, tell them something about how my music may meet their needs and ask if I can give them my info & if I can contact them later with some music.  I also listen to what they have to say and try to find out more about them in our conversation.  
 
     The Elevator Pitch: 
     I tell people to come up with a mission statement first, and then a one or two line sentence with what you do.  This way in case you meet some one but don’t have a ton of time, you have something prepared to say and it makes you look uber professional.  (BTW there are classes on this at some conferences).    My Elevator pitch is sort of like this:  "Hi I am Michelle Lockey.  I make Indie & Alternative music for Film & TV and also perform around in my home town. "   Now I only say this whole line if they ask beyond my name.  I also ask their name and what they do.  If we don't have time for all that, then I say "Do you have a business card?  I would like to get in touch later" .     
 
    Make a pitch list
     The biggest question I get is, who can people pitch their music too.  It is a bit of a faux pas to give out the information of your coveted publishers.  So what I tell people is to keep the lists of  the industry professionals that spoke at the conferences. Usually bios with their company names are included.   Look up what shows they work for or what types of music are in their libraries.  Then you can submit or contact them later. 
     It is always better to get introduced to an industry professional through someone else OR meet them casually at the bar later.  Which, BTW is usually the best way ;)

Have Fun!
Most of all have fun!  Meet some new people, exchange business cards, play some music in the lobby with the pop up band.  Enjoy the whole experience. 
 
  You can make some really great friends & co-writers at these events and become part of an awesome community that will change your life!    
You are now conference ready!!
 
Charge Forth and Party On! - Michelle

My Music Licensing Bootcamp Course starts September 24th! Get 65% off if you sign up by August 2nd! Bonuses:  a 30 minute conference call and E-book .           
​Click:   www.licensingsongs.com  for more information

This weeks post is from my friend Amanda West! She is a great lyricist and lives in Ireland.  She knows a ton about collaboration and is sharing her knowledge! Read on!
 



The Oxford English dictionary defines collaboration as “The action of working with someone to produce something”.   The idea of collaborating is not new, in fact the word ‘collaboration’ first came into use in the mid 1800s, and was a derivation from the Latin verb collaborare, to ‘work together’.
 
All very dry and boring when put like that isn’t it.  But in reality, when applied to the world of creativity, and in our instance, music, it takes on an incredible life of its own.  When we work together to create a song, or a piece of music, amazing things can happen.
 
I’ve put my thoughts on collaboration into 10 points, although there are many more aspects to the subject than I have room for here.  I suspect I could easily write a book on it, but in case I bore you, 10 will do.
 
So here they are:



1. We all have our strengths and weaknesses. Working with a partner on a song means that someone else can do the things you don’t find so easy, or are aren’t confident at, creating something that is often much stronger than either of you could have written alone.
2. Maybe you have some great lyrics or an amazing top line melody, but they just don’t inspire you enough to create equally great music/lyrics to finish the song.  Sometimes we hit a blank wall on a project, and it can be a useful idea to ask someone suitable if they would like to see if they could take it forward, and collaborate on it with you. 
3. Collaboration with another songwriter often means that you produce more tracks overall, as you are using your strengths.  When you work with your strengths, not only do you tend to enjoy it more, but you also seem to produce more overall.   Thus, your output of songs or cues will be larger over a period of time, meaning that your income in the long term is likely to be larger.
4. Always agree and sign a co-writer’s agreement before you start work.  This is a big one.  It can’t be emphasized enough.  You need to agree your copyright splits before you start working together, and you need it in a legally binding document.  There are no end of horror stories about people falling out, or even worse, taking each other to court, concerning a disagreement over copyright splits.  If someone doesn’t want to sign one, move on.  Any professional songwriter or composer will not have a problem with this, as it is normal.
5. Discussion and communication is key.  If something is bothering you, talk to your co-writer about it.  If you don’t understand something, talk to your co-writer about it.  Misunderstanding is very easy, especially if you are working online.  Of course it goes without saying that you should do this in a well-mannered way, explaining politely your point, and asking for their ideas on the matter.  Almost everything can be resolved in a good way, if approached decently and professionally.  Be nice, it means the world.
6. Songwriting with someone else can be fun!  Songwriting, in general, tends to be a lonely business.  Composers and songwriters are known to spend many hours ensconced in their studio, emerging only for the next caffeine fix.  If you co-write with somebody, be it online or locally, you are communicating and discussing something you are passionate about, which is always enjoyable.
7. Collaborating with a producer can take your music to the next level.  Many of us can write decent songs, but when it comes to production we just aren’t in the same ballpark.  A suitable producer may be willing to work with your tracks in exchange for a share of the copyright.
8. How can you find these collaborators?  You can collaborate with anyone, anywhere in the world.  How amazing is that!    The traditional way of collaborating in music is face to face, in a room together, bouncing ideas back and forth as you write the lyrics and music.  To work in this way try an online search for your local songwriting groups, go along a few times, get to know the other members, and you will find people more than willing to work with you.    Also nowadays we have this thing called the Internet.  So now you can work with anyone, anywhere in the world, as long as you both have an Internet connection.  But where do you look for these like-minded folks who want to work with you online?  Some of the ones that have worked for me are online songwriting groups, such as GYAWS (a Facebook group), FAWM (February Album Writing Month – 14 songs in 28 days), and 50/90 (50 songs in 90 days).  I have also found co-writers via the TAXI Forums, and well as through my actual TAXI membership and at the annual TAXI Road Rally in Los Angeles every year.  Other music and songwriting conferences would provide much the same opportunities I am sure.
            There are many online songwriters groups where you can collaborate, just try a Google search.  Although you will have to weed out the wheat from the chaff as they say.  Another way that can be productive is to attend events put on by your country’s PRO.  For me in Ireland that is IMRO.  They organize many such events, and at all of them there is the chance to chat to other songwriters and artists.  I always make some kind of contact to work together in the future when I go to these things.

     Eventually, as you network over time people remember you and will contact you when they need what you are offering.   Be patient, be considerate, be friendly and open, and you will find collaborators in many places.

9. Communication in collaboration is everything.  And I mean everything.  Poor communication will mean a less than pleasant experience, resulting in one or both co-writers not wanting to repeat the process, or feeling resentful, or worse. Discuss everything before you start writing.  Discuss the copyright splits upfront, and get that contract signed.

        If you are not happy about something, mention it.  Make sure you do it in a friendly and non-confrontational way, being open and willing to compromise to solve any issues.

       Online communications are fraught with problems, not least because most of it is via typing.  It is so easy to misunderstand what someone means when you read his or her hastily written Facebook message or email etc.  So, if something is ambiguous, just ask nicely for them to clarify what they meant.

       Finally one very important thing is to never take offence.  Whatever upset you was probably not intended, and can easily be sorted out by talking on a voice chat such as Skype, or even a typed message explaining nicely that you aren’t sure what such and such a sentence meant, and can they please explain in a different way.  Don’t brood, just ask in a friendly and polite manner.  If your co- writer is professional, they will understand and respect this.

10. And finally, not all collaborations will work.  We are all different creatures, with different ways of working and different personalities.  You will find that some collaborations are incredible experiences, producing some of your best music, and feeling easy in the process.  Others will be quite the opposite, ending in bad feelings and even anger.  If you have the bad luck to have one that is a bad experience, then just learn from it and move on, but stay polite and professional no matter what the provocation.  Remember, write, submit, forget, repeat, and just move on.  Luckily most collaborations are not in this category!  
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Useful links:
GYAWS: https://www.facebook.com/gyaws.signup/
FAWM: http://fawm.org/
TAXI forums: https://forums.taxi.com/
50/90: http://fiftyninety.fawmers.org/
 
 
Amanda West, Lyricist.
www.sheeaunmusic.com