Typically, I’ll get them to submit something for a show we’re working on at that very time. There are new licensors representing a catalogue coming to us all the time – new ones every day. What’s the process when new licensors approach you with their catalogs ? Music education/knowledge is a huge part of it all, and I keep working on furthering mine. Right now I’m working on a Spanish series for the Food Network and there are many forms of Latin music out there it’s so important to be very particular about what is used in a show that is based in a specific region, like Spain. They all really helped expand my horizons and knowledge base. This is both a natural intuition and one that is taught and improved upon by being taught by experienced professionals such as Ron Proulx, Chris Robinson and Andrea Higgins. Although it is perfected with time and experience, you kind of just develop an intuition for what is right and what is wrong. From there I became more involved, and eventually I started handling the music searches, music editing, license negotiating and tracking, etc. I became familiarized with the fees and commonalities for the shows we were working on, such as Heartland and Flashpoint, and began to better understand the current landscape of television licensing in Canada. Having already gone to school for music business made the transition that much quicker, as I was already familiar with the terms. It’s great, and gives you the right information to bring you up to speed. Ron has an e-book called How To Licence Your Music in Movies and Television. When I first jumped in, I really familiarized myself with a lot of legal terms and how deals are structured. When you started working for Ron, what was the process of training you to the point where Ron could let you do your thing? You can probably still find some material of ours on YouTube or Pure Volume. Ron Proulx then came back in the picture looking to add a team member and I took that opportunity to venture into Music Supervision – an area that I had never directly intended on getting into but am thankful I did. It was a really great job and a pleasure to work with talented acts such as Holy Fuck and Ruby Jean and the Thoughtful Bees. I worked primarily in the tour management realm, but also was involved in other avenues such as online and film/television/ad placements. Following SOCAN, I went on to work with Melissa Syme, who manages Holy Fuck, among others. And then it was a little bit of a lapse before we connected again. At one of the Gemini nominee reception parties, I met Ron Proulx, Owner/President of Arpix Media, who managed a few of the composers nominated for Gemini awards that year. While at Durham, I spent my time assisting with and organizing member events, such as the SOCAN awards, and took the opportunity to network as much as possible. At the time, it was in publishing/performing rights. I realized that this music business thing is pretty cool, so I went to Durham College for Music Business Management and from there spent some time at SOCAN as an intern, which is one of the best choices I’ve made career wise! A lot of my friends were going to labels, and without seeming money-hungry, I tried to see where the money still was. I got into music that way, kind of a do-it-yourself manner taking on management duties out of necessity and by default. Happened to track each other down on MySpace (remember that?) and ended up writing some songs together and playing on ET Canada. I was in a band with Dave Moffatt of the Moffatts for while. Later, I started getting into more mainstream music. I started off as a musician, playing in various bands starting in high-school, and even in the school string orchestra. How did you get into the music and entertainment industry? Thanks again Kyle and I am sure we’ll be speaking soon! Aaron Bethune Kyle’s interview shares lots of insight and will be a useful tool to those trying to license music in this industry. From musician to music supervisor, he has a great understanding of what it is to be on both sides of the fence in the world of licensing! Usually I speak with Kyle once a week so interviewing him seemed like a logical thing to do. Kyle is someone who lives and breaths the music industry. Kyle has also had the opportunity to serve as a panelist and moderator on various Music & Film panels at the Northern Ontario Music & Film Awards (NOMFA) and the InSight and Sound seminar series put on by Music and Film in Motion (MFM). Throughout his musical endeavours, Kyle has garnered appearances on Entertainment Tonight: Canada, MuchMusic’s disBAND, and also had the opportunity to work with top-24 Canadian Idol contestants.
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