Music Supervisors find and license music for use in TV shows, films, video games, theater productions, and commercials. They work for clients, usually Showrunners (TV Creators/Producers), Directors, or Movie Producers, and Music Video Directors, to choose just the right music for syncing to TV programs, films, and other visual media. Sometimes Music Supervisors need to work with District Supervisors, Licensing Representatives, Composers, Songwriters, Lyricists, Producers, and musicians to create new pieces of music to be used for a specific scene.

An important aspect of being a Music Supervisor is handling music clearances and all the legal aspects of securing song rights, which includes overseeing completion of mountains of paperwork. The job requires a full understanding of how music publishing, sync rights, and music licensing work. Many aspects can be very complicated, and the role requires excellent organizational, communication, and negotiation skills.

Music Supervisors need musical expertise and knowledge, and they also have a sophisticated knowledge of music licensing and synchronization rights. There are many permissions to be secured, and there may be more than one owner of a copyright. For example, a record label may own the master rights to the recording while the Composer owns and controls the copyright for the song. To identify and use the perfect song or composition, not only does it need to be a perfect fit for a scene and create the perfect mood, but it must also be available for licensing and at a cost within the production’s budget.

Music Supervisors oversee the administration of the song placement and may be responsible for tracking and issuing payments to the copyright owners, whether artists, record labels, or Music Publishers. They may also be responsible for placing the end credits in films and trailers, or even collecting royalty payments. In musical theatre, a Music Supervisor might manage a team of Music Directors working on several musical productions at the same time.

Supervisors often propose previously recorded songs to the Director or Producer of a movie, TV show, advertisement, video game, or other visual media. They act as liaison between the creative and business sides of the production. This means getting the music approved, asking the rights holders permission to use the song, creating master recording and sync licenses, and managing financial details so that it meets the production’s budget requirements.

Typically, artists are given the chance to accept or reject use of their songs and will also have a say in how the song is used. Music Supervisors also must interact with performing rights organizations (PROs) like ASCAP or BMI in their daily work.

Music Supervisors occupy a powerful position in the music and entertainment business, because getting the right music cues for a show or movie can elevate it to greatness, and having a song placed in a highly successful movie, show, or video game can push a Songwriter or performer into the public eye and help them to achieve fame.

To learn more about what it’s like to be a Music Supervisor, we talked to:

• Zach Cowie (Master of None, Judas and the Black Messiah, Little America)
• Frankie Pine (Big Sky, The Flight Attendant, The Newsroom)
• Amanda Krieg Thomas (Ratched, American Horror Story, Pose)

Most Music Supervisors work as freelancers on a per-project basis. They may have their own company, but they are still getting paid by the project. They receive a set fee for film projects and if they work in television, a fee per episode.

It’s difficult to tabulate a specific income range that would apply to most Music Supervisors, but annual earnings could be around $35,000 on the low side for someone starting out as an employee in a firm and rise to as much as $250,000 for a freelancer working on feature films for a major studio.

Sometimes, Music Supervisors continue receiving payments through soundtrack royalties. Even if working in an agency or company, their salary could be tied to the annual earnings of the company and their output. Music Supervisors always need to execute a contract before starting a project, outlining all expectations, responsibilities, and payments.

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Since the 1980s, the demand for Music Supervisors in the production process has continued to grow with the popularity of media soundtracks. The emerging need for selecting and licensing songs led to the steady development of the position of Music Supervisor. Music Supervisors have become even more important as the musical component of visual media became part of the marketing strategies of media and video game companies. Movies and games sell better when they have a hit song contained in them.

Synchronization licensing has allowed artists to earn more money while gaining exposure to a much larger audience. The expansion of video technology, streaming, social, and other technological advances in media marketing and distribution has led to increasing demand for Music Supervisors. For these reasons, the job of Music Supervisor continues to grow.

Institutions such as the Guild of Music Supervisors promote the understanding of music supervision, granting awards for excellence and encouraging other institutions to recognize and acknowledge the contributions and accomplishments of Music Supervisors. Music Supervisors play an increasingly integral role in the music, film, and entertainment industries.

There isn’t a set job description for Music Supervisors. They come to the job from a variety of music-related backgrounds and fields, and include musicians, Music Directors, DJs, Music Publishers, Managers, Agents, Radio Promoters, Licensing Representatives, filmmakers, and even Entertainment Lawyers and Music Writers (Critics). They share a passion for music and for film, TV, video games, and all types of visual media.

Music Supervisors might start out working in a production company, film studio, broadcast network, or music supervision company, and do freelance work. A Music Supervisor could also get their start working for a music library, a technology company, or a large publishing company where they can learn all about how music gets licensed for use in film and visual media.

They could pursue an internship to gain experience in any of these related areas, as internships with Music Supervisors are rare. Aspiring Music Supervisors should plan on getting at least one internship for about six months, as this is one of the most common ways to secure a job. Employers and clients want to see a track record of working and be able to ask for references from former employers.

Once someone has landed a role, advancement means working on higher-profile projects. An example of this would be someone who served as a Music Supervisor on student films in college later moving into indie films and eventually getting hired to work on a TV show or film associated with a major network or a famous Actor, Director, or Producer.

The field is open to people from a wide variety of backgrounds, and there are terrific opportunities for career advancement. At the same time, it’s a small field, so it remains highly competitive. Being in a large city with music and entertainment outlets will allow for networking and chances to get a foot in the door to work.

Although the process of landing a job seems mysterious, since there aren’t many job postings online, it’s possible to connect with indie and low-budget filmmakers looking for music supervision. Working on these films is a good way to show what you’re capable of, grow your industry network, and have a finished product that shows off your work.

Student films also can benefit from having a Music Supervisor on board and working with college-aged Directors on their films is a great way to expand one’s music supervision portfolio and meet people coming up in the world of film and TV. In short, this is a career where being entrepreneurial and making your own opportunities matters more than in other roles where one can just search for positions and apply online.

Most people think that the main requirement for success as a Music Supervisor is having a passion for and great taste in music. This isn’t really the case. The top skills for Music Supervisors include organizational, communication, and administrative skills, as we shall see.

Music Supervisors do need to have a deep and broad knowledge of music across many genres, and especially the history of music, to consistently provide the best-suited music for each show and scene they are working on. That means finding the right music for the scene, and not necessarily the favorite music of the Supervisor.

Knowing the roots of a wide variety of musical styles is crucial and having a knack for finding just the right music is key. Different kinds of media use music differently, so the Music Supervisor must know what is required and then go out and find it. The tastes of the Director or Producer may come into play, but ultimately the Music Supervisor must do their own musical research and find the right music that fits the project’s budget and is available for licensing.

Knowledge of legal aspects of music is super-important, as are deal-making and negotiation skills. Music Supervisors must be familiar with the various statutes that affect music licensing and clearances, and be very careful not to make mistakes, which could be costly or lead to lawsuits if clearances and contracts are not handled carefully.

Having good networking skills is a must, as most opportunities arrive by word of mouth. Students can volunteer to work at conferences such as for the Guild of Music Supervisors, which also offers educational and professional resources for anyone looking to break into the field. Another way people get into music supervision is by working at a music publishing house, a performing rights organization, or in the music industry as a Producer, Agent, or Manager.

While it’s helpful to have musical skills and knowledge such as reading, writing, and performing, it’s more important to have a broad knowledge and familiarity with musical styles, artists, production, and music business topics. Being a good communicator and understanding all the legal aspects of how music is bought, sold, licensed, and protected as intellectual property is crucial; having a legal background could also be helpful.

Understanding how the film and TV industries work and broad knowledge of films and shows will be an asset to anyone seeking to become a Music Supervisor. Having great connections and the ability to see a project through to the end are also important qualities that contribute to the likelihood of success. Finally, knowledge of the technology used in recording and syncing music to video could be very helpful to Music Supervisors in training.

There is no set educational or career path to become a Music Supervisor. Educational backgrounds range from Bachelor of Fine Arts in music to business degrees to no higher education at all. Since there are no degree programs in music supervision, aspiring Music Supervisors will have to find their own educational route to learning what they need to know.

Some colleges and universities do offer courses in music supervision. For example, NYU Steinhardt’s Music Business program offers a course titled Strategic Music and Branding, while Berklee College of Music offers an online professional certificate in music supervision, open to anyone, comprised of five courses for a total of 15 credits. Berklee’s courses cover most, or all aspects of music supervision and they offer strategies for recognizing and leveraging
professional opportunities.

Look for college majors related to the film or music industries and seek out internships that provide on-the-ground experience. It’s important to study music business and trends and to develop strategies as you learn about the critical areas of the industry. This includes best practices in music publishing, licensing, marketing, promotion, and understanding current issues facing musicians, entrepreneurs, Managers, Film Directors, and other music and entertainment professionals.

Whether in college or otherwise, studies should focus on practical aspects of the music, mixed media, and film/TV industries, such as how content is produced and monetized, how revenue streams are generated, music placement opportunities, budgets and financial management, clearances, copyrights, infringement, intellectual property (IP), business planning, advertising, and other current issues.

In the end, Music Supervisors are responsible for combining music and visual media, with attention to all the details involved with that. They need to be super organized with their time, know how to write a proper email, and be able to plan their work independently. These are learnable skills for anyone. What’s needed beyond the basic music knowledge is organizational ability, administrative skills, and clear communications. Learning to use spreadsheets and other administrative software and being a good problem-solver is as important as the musical knowledge you bring to the job.

Music Supervisors need to meet the needs of the Directors and Producers as well as the musicians, Composers, Songwriters, and their management and labels. This means bridging a significant gap between the two sides, while also bridging the gap between the creative and business sides. It’s an increasingly important role in the music and media entertainment industries.

The Guild of Music Supervisors is a professional and educational organization for Music Supervisors currently already employed in the business. Although they’re not open to non-professional level members, their website is a good starting place for those looking to learn more about this career field.