PRIVATE SYNC focused MASTERMIND GROUP
SYNC MASTERMIND GROUP
Join facebook group - PUBLIC upon approval
** IF YOUR APPLICATION IS INITIALLY APPROVED - YOU WILL RECEIVE A PERSONAL EMAIL AND AN INVITATION TO HAVE A CONVERSATION WITH THE GROUP LEADER TO BETTER UNDERSTAND GROUP ACCEPTANCE AND EXPECTATIONS
about
DEFINITION: A MASTERMIND GROUP IS A PEER-TO-PEER MENTORING GROUP USED TO HELP MEMBERS SOLVE THEIR PROBLEMS WITH INPUT AND ADVICE FROM THE OTHER GROUP MEMBERS- LED BY AN EXPERT IN THE FIELD.
VISION: WHAT IF THERE WAS A SMALL GROUP OF 15-20 HIGHLY COMMITTeD, MORE ADVANCED PRODUCERS / ARTIS/ SONGWRITeRS WHO NEEDED REAL TME, HIGH END, PEER AND PROFESSIONAL CRITIQUE AND REFlectION? BUT ALSO ACCESS FOR NEWLY CREATeD SONGS WRITTEN TO CURRENt BRIEFS TO FILM, TV, BRANDS, AD AGENCIES, GAMING AND MORE!
WHO IS THIS FOR: INDIVIDUALS THAT ARE CREATING HIGH QUALITY CONTENT AND ARE SEEKING TO GROW THEIR NUMBER OF REAL OPPORTUNITIES, CREATIVE AND REVENUE IN THE SYNC SPACE. THEY ARE LOOKING FOR CRITICAL FEEDBACK, ACCESS AND COMMUNITY THAT IS A STEP ABOVE THE REST. THE INDIVIDUAL WANTING TO BE IN THIS SELECT SMALL GROUP WOULD BE AT A PLACE IN THEIR CAREER AND SONGS WHERE ACCESS AND OPPORTUNITY WERE SOMETIMES IN THEIR HANDS, BUT NOT OFTEN ENOUGH.
GROUP LEADER / Executive bio / EXPERT IN THE FIELD : Devon Devries' experience has him centered across most all genre’s, revenue sources and creative paths. He has a 22 year career in the music/media business ranging from VP of Creative – Film/TV Music A&R at Big Yellow Dog Music, CBS/Paramount Pictures, Extreme/SONY ATV and Sony Music Entertainment. He has led creative in sync and marketing on behalf of publishers like Big Yellow Dog (Grammy Award Winners/ Meghan Trainor, Maren Morris, Josh Kear) Developing them into an industry leader in Film/TV Music in less than three years generating hundreds of sync placements annually not only for his hit artists, but for independent artists as well. In Devon’s current role as Co-Owner/Head of Creative at The Bus Music he is driving a similar path with companies like 300 Entertainment (Megan Thee Stallion, Young Thug, Fetty Wap, Cheat Codes) as well as The Bus’ own 15 writers and artists between Amsterdam, Kuwait, Nashville, Atlanta and LA. At this point in his career he has facilitated more than 10,000 sync placements.
His knowledge and experience of copyright development/ management and international sub-publishing have led him to thousands of connections into the film/tv sync market, A&R Executives, and top creative personnel (songwriters/producers) around the world. He has taught seminars on music publishing and film/tv music at Belmont University, Oakwood University, MTSU, TSU, GMA’s Immerse Conference and has sat on numerous panels including the SPOT festival in Aarhus, Denmark, and the Nashville Film Festival.
creative - thoughts on sync
GET INSIDE THE BATTLE
So often when we are looking to write a song for film/tv writers will typically write a bit “on the nose.” In other words - if Coca Cola is looking for a fun, young current summer type of song I can almost 100% guarantee that they don’t want the words Coca Cola in the lyric. Same can be said for a music supervisor looking for the right song for a battle scene. The obvious and unsynced lyric would be about blood, death, swords or guns. But what if we looked inside the battle a bit further? Could we find an idea in there that would grab the attention of the Music Supervisor. Put yourself in the battle - what is happening around you? What do you hear? What do you see outside of the obvious? As you are sweating and fighting for your life what else are you doing? It could be that you are watching your brothers back. Protecting his blindspot. Guarding the life of another while in your own crisis. Can you see how many song ideas around battle that just sprung up in the last four sentences? This is the creative that separates those that land sync opportunities and those who don’t.
HIT SONG OR THE RIGHT SONG
Maybe you are convinced that only hit or familiar songs are making headway in sync? You aren’t completely wrong. There is absolutely value in syncing hit or familiar songs. It is what gets the attention of a consumer when a commercial comes on. Or, it is the familiar emotional moment in a film that only “In Your Eyes” by Peter Gabriel could fit. However - the majority of music licensed today in TV shows, Films, Games, Ads are NOT hits. They are in fact the “right” songs that fit the emotional direction of the visual media. I’ve heard for years from music supervisors that they are not on the hunt for the hit or the “best” song. They are on the hunt and looking for the “right” song. Having the right song amplifies the emotion of the visual and can even break a song into a viral moment with streaming, shazams and even breaking an artist!! Are you trying to write hits? Or are you looking to have potential income as a writer making the “right” songs?
I / ME vs WE / US
The most common theme used in songs for ALL TIME is love and or relationships. Listen to the radio or any song written in the last 60 years. For the most part songs are about relationships that are one to one. Singular in nature. If you are someone looking to gain ground in creating for the sync market I’d like to offer you a challenge. Try writing a song NOT about a relationship (love) and instead direct your song as an invitation. An invitation into a group. Yes, move your creative into we and us. Lorde was genius at this in her hit album Pure Heroin. “We’ll never be Royals,” “Let’s go down to the tennis courts,” “We live in cities you’ll never see onscreen.” The list could go on and on from this record. Guess what? It was synced like crazy!!!! I wonder why?!!
The songwriting grind
Have you been grinding writing songs for film / tv / ad placements but can’t seem to break through? Are you convinced that you have have great material, but can’t seem to get the attention of music supervisors, publishers, libraries or even other writers who are having success in this market? Maybe you have spent thousands of dollars on misdirected production or songs that just shouldn’t be produced.
What are you doing wrong? What are you doing right? Are you getting critical feedback? Do you have access? In 20+ years of being a highly successful publisher and sync executive - the number 1 reason songwriters / artists aren’t getting placements is the song / creative itself. Once that is corrected – access becomes much easier. When the creative is RIGHT, it is much easier to move into a deal for the song. Trying to convince a gatekeeper that you have great songs is NOT a position of power or sales.
Maybe it’s time to switch up your way of thinking,approach and execution of creating songs for sync? Applying for Write After Work mastermind group is a way to help you grow and get to a place where your work gets noticed. A focused group of peers with the same aim and mission as you. This mastermind is NOT for the masses. It has a cut-off limit. Each accepted writer/producer/artist is also bringing their voice, and experience to the group!