Rebeccah M/ SEO SPECIALIST & SYNC LICENSINGING

22 hours ago to Grant Maloy Smith

Hi,

I came across your work on Broadjam and spent some time listening to "Oh Faithful Heart", there's a level of artistry and direction in your sound that's not easy to come by.

I work privately with a select number of artists, composers, and producers who are serious about positioning their music beyond traditional releases particularly within the sync and licensing space.

In my experience, many strong catalogs remain under leveraged, not due to a lack of quality, but because they aren't aligned with how music supervisors and licensing platforms actually search, filter, and select material.

My role is to bridge that gap refining catalog presentation, enhancing sync readiness, and ensuring the music is positioned where it holds real commercial value. The goal is simple: to open doors to meaningful placements, strategic partnerships, and long term opportunities.

I'm selective about who I work with, but I believe your sound could translate well in that space.

Out of curiosity, is sync and licensing currently part of your long term strategy, or is your focus elsewhere at the moment?

Best regards,
Rebecca
Seo Specialist and Sync Licensing Consultant

Steven B

3 days ago to Grant Maloy Smith

Hey, I came across your track and I like the direction you're going with your sound.
Quick question, have you ever considered preparing your music for sync licensing (film, TV, ads)?
A lot of artists I speak to have strong songs but miss out on opportunities because their tracks aren't fully sync-ready.
If you're open, I can give you a quick insight into how your music could be positioned for licensing.
Feel free to reply here or send your track to belovedsteve760@gmail.com

Best regards,
Steven
Music SEO & Visibility Specialist

Patrick Bachana| Authenticated | Sync & Catalog Consultant

3 weeks ago to Grant Maloy Smith

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

2 Replies

 

Grant Maloy Smith

3 weeks ago

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.

Patrick Bachana| Authenticated | Sync & Catalog Consultant

3 weeks ago

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