Last updated on January 15, 2021 by

In this video, you’ll meet Andrew Galucki.

Andrew is a musician from Nashville who makes a full-time living from sync licensing. He’s here to tell you more about sync and how you can make money from your music by getting it played on TV, films, ads, and all those cool places.

In this video, you'll meet Andrew Galucki. Andrew is a musician from Nashville who makes a full-time living from sync licensing. He's here to tell you more about sync and how you can make money from your music by getting it played on TV, films, ads, and all those cool places.   In this video, y


In this video, you will meet Andrew Galucki, a musician from Nashville who makes a full time living from sync licensing.

And he could tell you more about sync and how you can make money from your music by getting a placex4 on TVs, films, ads, and all those cool places.

So keep watching!

Andrew Galucki
When it comes to artists and songwriters giving their music, their songs onto TV, film, ads, trailers, getting them synced so to speak, there’s one thing I see blocking their chances more thanaoeu anything else and that is writing lyrics that are too specific.

I am going to do a full deepr0r0 dive intom0 what exactly that means. Before I do that, I just want to introduce myself. My name is Andrew Galucki, I amf0f0 a singerx8-songwriter and the founder of Nashville For Hire.

Really all you need to know for the purposes of this video is that last yearx4 I made almost $50,000 from my sync revenues alone. Meaning, all that money, that $50,000 was made from getting my music attached to a visual medium.

My music has been featured on networks like ABC, CW, MTV, on shows like Gray’s Anatomy, Rain, Teen Mom. It’s been used for national ad campaigns for brands like Chase Bank in Canada, for banks like Rogers Wireless.

And then on top of that I’ve had hundreds of micro syncs. So I am not a master of all things sync but I am fully in it on the journey having successes and so my hope is that this video can kind of be me handing back things as I am getting them in real time that can hopefully be helpful to you.

So to make sure that we are all on the samex9 page, I just want to give a quick working definition of what it means to write for sync or to have your music license or any of that.

So basically what I am saying, write music for sync, what I am referring to is what’s also called music licensing. In general, to have your song synced is to have it used on a TV show, a commercial, a film, a trailer, a video game.

And basically, it means you are taking your music and you are syncing it up to a visual medium. That’s sort ofr0r0r0r0r0r0r0o0o0o0o0o0 getting your music synced.

And so when you are doing that kind of writing, what you really have to remember is that you are trying to write songs that will prop up the storyx0 that is going on screen.

So when you are writing a song for TV and film, your job is to prop up an already existing storyx0, not to tell your own great narrative.

So let’s say you are writing a song and you are hoping it’d get used in some romcom, team romcom on Netflix.

You are picturing a scene of this teenager who just had his heart broken and he’s in this dark roomx4 and he’s crying and there’s like a lava lamp in the corner, because it’s a 90s rip off or something, and the tears are just coming down his face and leaving streaks and he’s looking at a picture from that time they had the affair, and there’s all these details going on.

If you are picturing that scene and then writing a song, walking you through that scene, the odds are even if we got really lucky and somebody created this lava lamp 90s rip off movie and had this scene, the odds are your storyx0 would still get in the way of that storyx0 because it’s not going to be a music video, and they are not going to show the lava lamp when you are seeing lava lamp.

So in best case scenario with these really specificx2x3 lyrics, really specificx2x3 song, and they have a movie that happens to find your song and happens to use it and all these things, it’s still going to be a problem in editing for them, that your song is so specificx2x3.

Beyond that, in more realistic world, a supervisor, music supervisor, the person who’sm0x0 in charge of pulling on songs to be used in all these visual mediums, that person is going to hearm0 the specificity, the specifics of your lyrics and justx3 [inaudible 00:03:31] because they know that it’s not going to work for the editors when they are trying to put together a scene.

And again, that’s because the lyrics you are writing, that are superx4 specificx2x3, are pulling the viewers of this film or whateverm0 they are watching, out of whateverm0 they are seeing on screen.

You don’t want to have your storyx0 going on and their storyx0 going on because it’s going to be conflicting and it’s going to pull you in and out of the two narratives.

And so what you are trying to do with your music is prop up that storyx0 that’s already existing.

So the big question is – what do you write about then? And the short answer is you focus on the emotions of the situation, then you really do a deep dive intom0 all those feelings and expressing those in ways that are not so situational, so scenic, so specificx2x3.

And while the song instrumentation and production will most likely have dynamics and that’s actually a great thing to have these instrumental and production dynamics throughout the song to give different moments, the lyrical journey is probably going to be pretty flat and that’s what you want, you don’t want to have this big arc of like herex4, we started here and now we are here in this big lyrical storyx0.

And for me this was a difficult thing to get used to because I took pride in writing songs that had this lyrical journey, that had this momentum you built, you started here [inaudible 00:04:45] another song, you had to reveal something new and like you found this journey with those [inaudible 00:04:49].

And when it comes to that type ofx3 writing, that is a great thing. When it comes to this type ofx3 writing, for this specificx2x3 purpose, if we are putting on the hatx2 that says I am going intom0 writing for sync mode, it’s justx3 not something you want to be doing.

A good way to think about this and visualize it is if you think of like a soundx0 cloud audio clip where you have that little visual that they give, if you werem0 to pop in at any givenx2x2 moment within that visual and here what’s going on, the lyrics should give you this general idea of the feelings of the song but it shouldn’taoeusnth be like, “Oh, what is he – is he singing about a car, why is there a carx0 – oh what’s the lava lamp doing, why does he have a lava… ”

Like, it shouldn’t be those kind of specificx2x3 things. You should have a general feeling relatively quickly that gives you an idea of the emotion of the song, where it’s coming from, without giving you anything too specificx2x3 where you are confused or you need more information.

And when I first had this explained to me by the mentors at the companyx4 that I write for, it was kind of let down, I kind of felt like I was being toldx3 to write kind of really blaze and vague music that I wasn’t going to care about.

But then I started to think about it not so much as like a vague writing, but as a poetic writing, because my writing, when I justx3 write for an EP and I amf0f0 not thinking about getting my songs synced, my writing in that situation is a lot more journally, kind of justx3 stream of consciousness kind of space.

I live in Nashville so I amf0f0 around country writing all the time, and so sometimes that comes intom0 my kind of full key writing as well, which is again very specificx2x3 kind of writing.

And so when I am writing for sync then, I get to kind of put on this cool sync hatx2, like I referenced before. So putting on this sync hatx2 started to mean that I get to go into this kind of more poetic mode where I don’t have to justx3 spell everythingaoeu out in explicit detail and give this like very concrete set of thoughts that this thought leads to this thought, this thought leads to that.

I am not writing a thesis paper. I amf0f0 wetting poetry, and poetry as a way of being something you can stir up and mix around and it still creates the same vibe, the same sensation if that makes sense.

And so it is a different style than my normal writing style, and I still do my normal writing style for other songs, but this gives me an excuse to dive into a whole new space, which I think is creatively really excitingx3x2.

And I didn’t really have a name for this kind of song writing


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