Episode 7: Doug DeAngelis (Part 2) - Make Something To Show For Yourself YOU CAN Make a Living In The Music Industry Podcast

This week I continue my conversation with hit producer, composer and music supervisor Doug DeAngelis. In part 2 of our interview we focus on working as a music director and supervisor for award shows such as The Billboard Music Awards and Teen Choice Awards. We also talk about what it takes to be a music supervisor for t.v. shows, the relationship a supervisor should have with an artist as well as the importance of knowing the music editor for a series. Plus, practical steps you can take to get into this line of work in the music industry.
Show Notes:
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Talking Points:
*I do music supervision and music direction at the same time for award shows.
*How did you get into working on award shows? I did talent performance shows and along the way I got called to work on a sci-fi award show for Spike T.V. then she started calling me to do Teen Choice Awards and shows like that and people get to know you and start calling you for others.
*It takes about 2 months to put an award show.
*A “Dub Stage” is where you mix a t.v. show.
*Don Mischer Productions does award shows.
*I am either editing library music or writing music for the award shows.
*Label and management decide what music they want played when their artists come on stage for award shows and I have to work with them to put that together.
*Award shows are giant marketing events for artists, films, shows, etc.
*When actors or models come on stage to be presenters, I have to figure out what their brand is and create music that fits who they are. Then their managers have to approve it most of the time.
*The stress in award shows comes when they don’t tell you who the artists or presenters are until about a week before the show. So you’re doing stuff blind and chasing a lot of rumors and sometimes do work for no reason.
*You’re going to do a lot of work for nothing, but that’s part of the job.
*I do pop culture award shows, not academy awards, etc.
*You only get about 48 hours to turn a song for t.v. shows.
*I rarely have time as a music supervisor to reach out and ask licensing agents for songs to put in a show. I have reached out directly to artists and had them send me music that I needed right at that moment.
*A music supervisor’s sentiment for putting an artist’s music in a show should be “thank you,” not “you’re welcome, I just got you exposure on social media.” That is devaluing you as an artist.
*We have devalued music for the past 25 years.
*Music supervisors should appreciate the artists and thank them for making the show successful.
*Music supervisors should always be respectful of the musician’s art making their show better.
*I would love to see the business of music stop accepting less all the time and try to be innovative and get back to more with innovation.
*I moved to Nashville with the goal of saying “how can we break the mold entirely and start over again with a new model that will actually generate real revenue for artists and not just take whatever we’ve left them by giving away things all the time."
*I have a company called Black Sleeve Media to create a new medium for music that can be experiential like the video gaming world where people will find value in and spend money on.
*We’ve built technology for mobile devices that can play back multiple multi-tracks all at one time to gamify the experience of music and tie it all to different social experiences and communication experiences and festivals, and tie to brands, etc. and make it so you’re actually participating in music. It’s all virtual currency based so you’re not buying music but unlocking features and things they can do with music that will pay the artist the same way that the sale of CD would pay.
*It’s mostly on mobile platforms working with artists