Hey there! First off, a quick disclaimer: I’m not here to teach you anything. I’m just sharing my own experiences. What works for me might not necessarily work for you. So, take this easy, as me sharing what’s been happening in my world and what’s worked for me.

Now, the big dilemma: when you’re working on a song, how do you know it’s the right time to call it done, close it, and send it off? Whether you’re lucky enough to have a publisher or you’re pitching your music to someone, this question always comes up.

Since we’re talking about the music licensing business, remember, we need to be fast but also deliver top-notch quality. That’s the tricky part. You can’t take forever, but you also need to make sure the quality is high. Balancing speed and quality is the toughest part of the game.

Don’t Overthink It!

One of the keys is to avoid overthinking. You just need to produce your music and get things done. This doesn’t mean compromising on quality, but you have to find ways to avoid getting stuck. For me, what works better is laying down a draft track almost like I am playing live, staying in the flow, and focusing on the emotion. Remember, music licensing is all about evoking emotion, whether it’s sadness, energy, or whatever the project needs.

I also like to write the song title before I even start working on it. It helps me create a mental picture and stay focused. Also, after the first song, if you’re working on an album, you can use templates in your DAW to save settings from the first track and apply them to the next ones. This speeds up the process for the rest of the album.

But the big question: When Is a Mix Done?

Knowing when a mix is done is really a mind game. You’ll always feel like it’s not perfect. But aside from a few essential quality standards, mixing is also something pretty subjective. What sounds great to you might not to someone else. Use reference tracks to keep your mix on track. A good mix usually comes together pretty quickly. Don’t overthink every instrument, just aim for a balanced sound. Take breaks, trust your ears, and eventually listen on different devices.

Getting Feedback

If you’re lucky enough to already work with a music supervisor, at some point, after ensuring the quality is good enough, send the song over. You’ll get feedback, and you might be surprise! it could already be good to go. If not, they’ll tell you what needs tweaking. It’s better to send it off than to get stuck in a loop of never being satisfied.

If you’re pitching to someone, it can be trickier. You’ll have to trust yourself more. Compare your tracks to similar music, but again, it’s better to have multiple songs done than one that’s never finished because you’re chasing perfection.

Final Thoughts

If you’re self-publishing, you’ve likely leveled up your game and found your method. But here’s a crucial point: don’t be too picky with your mix. While it’s important to satisfy your artistic side, remember that when working with publishers, the goal is to get your music placed. If they give you feedback, it’s not criticism, they just know what their clients want. Their suggestions are meant to help you both achieve the same goal: getting your music placed and earning royalties. It’s a win-win.

So, listen to your publisher, find a good balance, and most importantly, and again, don’t overthink it. Keep producing. That’s the key.

Rock on \m/