My Review Of Aaron’s 90 Day Music Licensing Challenge
Alright this is long overdue, but finally here. My honest review of Aaron Davidson course “The 90 Day Music Licensing Challenge”. In all honesty I think it’s a great course. I say this because Aaron really digs in and makes sure you understand how music licensing works. He covers mechanical royalties, sync licensing, exclusive vs non exclusive contracts, publishers etc… The course has really good foundation to build and expand from.
What’s Inside The Licensing Course?
To be quick and considerate of you time I will give you a short breakdown.
EMAIL/LOGIN & PASS: When you sign up you’ll get an email greeting from Aaron along with your login/password and…. a reminder of your consultation. I think Aaron likes to get this out the way ASAP because this is where you can tackle (head on) your concerns about your skill level, experience and the best way to use the course.
I think it’s best to get it in before you start submitting music. This might put you behind a day or 2, but worth doing as it may give you a completely different outlook on you, your business and how you plan to use the material in the course.
TRAINING VIDEOS: – Not going to go into much detail on this, but the videos tell you everything you need to know about licensing, what you should be mindful of as well as tips on pitching your music.
MUSIC LICENSING DIRECTORY: – This is like $35-$45 dollars or something like that, but he gives it a way free.
FORUMS: – There’s a separate forum for his students to login and communicate/bounce ideas off one another. I will be honest, I logged in once…didn’t see much activity and never logged in again, but this was the 1st day of the course… I didn’t give it a fair chance.
ACCOUNTABILITY CHART: – At least that’s what I like to call it. It’s basically a spreadsheet (pre made) that is setup as a way for you to stay organized with who you’ve sent music to, whether they responded or not etc.
When I 1st saw this I said “I don’t need no stinking spreadsheet!” not entirely true. As the replies and contracts came in I needed a way to track everything and that spreadsheet came in handy!
AARON IN YOUR CORNER: – ← Yea I’m sure that sounds a bit cheesy, but this is important because a lot of these courses you purchase have ‘zero’ customer support. They create a product, make a few bucks off you then leave you out to dry… NEXT SUCKER …and the process repeats.
I’ve consulted with 3 times during the course. Once in the initial stage and twice throughout. I know a good deal about licensing, but I wanted to see if the man would respond like he said he would and he did. He took time out of his day to respond and help me with my issues.
I know I’m missing something. I’ll update this once i figure it out
Making Money From My Music… How?!
The road to success is all in the seed planting. Over the course of 90 days you’re submitting your music demo to 90 different libraries and or publishing companies (there is a mix of both).
And on top of that, he gives you a massive licensing directory (free) chalked full of leads that are willing to take your musical ideas and help you get them placed. Granted, you have to be able to provide music they can use.
These publishers/music supervisors want quality work, so you’re going to have be open to taking criticism and accepting rejection because it’s going to happen.
My demo songs were rejected 20+ times, but I kept pushing!
Music Licensing Course Dislikes!
This is just personal preference and business experience talking here. I think the course was too short (no pun intended). Or, maybe it should be titled something other than 90 day challenge. Why? Well, people believe they’re entitled to something simply because they coughed up $100 ($99 to be exact).
This isn’t a store. You’re not giving this man $99 in exchange for placements. You’re giving him $99 for his training/expertise and his guidance throughout the course – Actual work is involved on your part
It’s no different than going to school to be an engineer. Sure you come out with a degree, that doesn’t mean you’re going to mix top end projects or even make a living in the field.
They give you the knowledge, but you have to execute!
Let’s take a look at my situation, I was lucky to run into two music supervisors with projects that had short deadlines because they needed the music right then and there. Had I not run into them I wouldn’t of had a placement until after the 90 day mark.
That’s right, I’m just now getting placements from the music libraries I was submitting to throughout the duration of the course!
So in my opinion I think he should change the name and or make the course longer. Or maybe even strongly reiterate the fact that just because the course ends in 90 days doesn’t mean you’re gonna get a placement within that timeframe.
These libraries are busy, It could take them anywhere from 1 – 30 days just to get back to you and that’s just the ‘ok’ or ‘green light’ to send more music in to be ‘considered’! It still takes time for them to listen, tag, profile and file your music.
Some of these libraries (as I’ve mentioned before) have a strict quality control regiment. Another thing to take into consideration is the fact that these libraries are sometimes owned and operated by other successful musicians and music supervisors. They have their own projects and lives to deal with. The best thing to do is stay focused, continue to write and submit music and let ‘time’ do what it does.
Aaron Davison Took My Advice
Or so, I’m going to assume that he did. He’s now stretched the course out to 180 days, that’s six months which is around the same time I began seeing music placements trickle in from music licensing companies within the course.
You can click the image or go through this link to sign up
I believe the deadline to sign-up is December 30th. I get in before he closes up
Read The Entire Music Licensing Case Study
You can find it here 90 Day Music Licensing Case Study
Just a few highlights from the case study
This case study was made for those who want an honest review of Aaron’s Course – from a student’s perspective as well as a little insight on the world music licensing.
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