No thanks, close this window
Hey Maloy Smith, I recently listened to your music on Broadjam and really enjoyed your sound especially "fade To Gray", I noticed most of your sound has strong potential for licensing and wider industry exposure. One thing I've noticed from working with independent artists is that great music alone is not enough on Broadjam. But Visibility, Accurate metadata, Targeted submissions, and external traffic all play a big role in getting noticed by music supervisors and opportunity providers. I help artists: Optimize their Broadjam profile for discovery Match the right songs to the right licensing opportunities Increase plays, reviews, and chart visibility Drive external audience traffic to strengthen industry credibility Pitching your sounds to Music supervisor strategically in a way that works to be selected My focus is simple, helping your music stand out and improving your chances of placements and real opportunities. If you are open to it, I do be happy to take a quick look at your profile and share a few ideas you can use right away. i would welcome a brief Chat At>> Patrickumeshsocial@gmail.com Best regards, Patrick Music SEO & Visibility Specialist
Honestly, I've had about 30 offers like this, and I've done a bunch of them, and never got ONE SINGLE SYNC. So I am skeptical in the extreme.
Hi Grant, I completely understand the skepticism, and honestly you're not wrong to feel that way. A lot of the services artists get approached with focus on submitting music everywhere or promising sync opportunities, but they skip the groundwork that actually determines whether supervisors even consider the catalog in the first place. Most of the time the issues come down to things like: 1) songs being pitched to the wrong type of opportunities 2) metadata and tagging not aligned with how supervisors search catalogs 3) profiles not generating enough activity signals (plays, reviews, engagement) to look credible when someone checks them > or simply music being submitted without a real targeting strategy So artists end up paying for submissions that were never positioned properly to begin with. What I usually do first is look at how the catalog is currently positioned, not just the music itself, but how it's being surfaced and matched to opportunities. Sometimes a few adjustments change a lot in terms of visibility and response rates. Out of curiosity, when you tried those services before, were they mostly submission services or actual catalog optimization/strategy work? Patrick