No thanks, close this window
Hi Kelvin, I recently listened to your track "The First Noel" and spent some time listening. The production and overall feelings really stood out to me, it has a clear direction and the melody feels more than a casual release. The arrangement and sound choice really gave it a strong, placement ready, vibe. Just wanted to reach out and say you're building something solid here. Always good to see intentional work on Broadjam. Are you currently focusing more on sync opportunities, streaming growth, or just creating freely at the moment?
Patrick, I have been involved in various market opportunities but results have been mixed. Would be open to hearing ideas. -Kevin
Hi Kevin, I appreciate you being open about that. Honestly, what you're describing is something I hear from a lot of independent artists, they've explored different opportunities, but the results end up being a bit scattered or inconsistent. Most of the time it isn't the music itself that's the issue. It's usually how the catalog is structured and positioned for the specific markets it's being presented to, especially when it comes to film, TV, and advertising placements. When I come across music like "The First Noel," the first thing I tend to look at is whether the catalog is actually sync-ready from an industry standpoint, because that's often the piece that determines whether music gets seriously considered or quietly passed over. Out of curiosity! roughly how large is the catalog you're currently working with? Are we talking about a handful of tracks, or do you have a deeper body of work behind it? Patrick
My catalog is approximately 150 songs at the moment (all instrumental). It ranges from: 2 Christmas albums, a cinematic piano based album; 2 smooth jazz albums; dozens of soundtrack style songs and cues along with tracks that don't fit in any of the previous categories.
Hi Kevin, That's actually a very strong position to be in 150 instrumental tracks across those styles is not common at all, especially with the mix you're describing. What stands out to me right away is that you've already done the hard part... you've built a real body of work. The challenge at that level usually shifts from creating music to how that catalog is organized, presented, and targeted for specific licensing lanes. From what you described, Christmas albums, cinematic piano, jazz, and soundtrack cues, you're sitting on multiple placement lanes, but if they're not clearly defined and packaged the right way, the market tends to treat it as "general content" instead of licensable assets. That's typically where the "mixed results" starts to happen. At this stage, what I usually do with artists in your position is take a close look at how the catalog is currently structured and identify where it's being left on the table not from a creative standpoint, but from a sync and market access standpoint. Before I go further, let me ask you this; Have you had any placements or serious traction so far on the sync side, or has it mostly been submissions without much return? Patrick
Hi Kevin, That actually tells me a lot and in a good way. A 150 tracks instrumental catalog with that kind of range (Christmas, cinematic piano, jazz, soundtrack cues) is exactly the kind of body of work that should be generating consistent opportunities... but only when it's clearly segmented and positioned for the right buyers. Right now, based on what you shared, it sounds less like a volume issue and more like a catalog clarity issue meaning you've got multiple strong lanes, but they're likely being presented as one general pool instead of targeted assets. That's usually where things start to stall or feel "mixed." At your level, the difference between occasional results and consistent placements typically comes down to how the catalog is: Structured into clear sync categories Tagged and described for search/discovery Matched to specific licensing use cases That's the part most artists never really get dialed in. If you don't mind me asking, what means have you been putting your music out there, has it mostly been through libraries/submissions, or have you had any direct traction (placements, publisher interest, etc.) so far? Patrick
Largely through submission platforms which includes getting into libraries.
I am so glad to have listened to a few of your tracks. Absolutely beautiful, I hope to hear your music in movies. I thank God my parents exsposed me to all genres. Much success to you ???
Thanks for the outstanding review of That's One Thing (intro only), Kevin. The full song actually kicks into high-energy rock with big harmonies in the 2nd half, where you'll get the full picture both lyrically and musically. Glad you enjoyed the intro!