The influx of money from streaming services such as Amazon Prime, Netflix and Apple TV into music supervision and licensing has helped to compensate artists for falling record sales, according to one of the sector’s most prominent figures. Music supervisors used to be a rarely mentioned role, but the investment in TV from streaming platforms has made having impeccable music supervision another vital element in a standout series. “Some people think supervision is like fantasy football for music,” says Zach Cowie, one of the new breed of music supervisors. “But there is a lot of stuff you need to know beyond just selecting good music.” Cowie – who worked at record labels and toured with Animal Collective and Fleet Foxes before becoming a DJ and moving into music supervision – has worked on Netflix’s Master of None, Amazon’s Forever, Kirsten Dunst’s series On Becoming a God in Central Florida, and Apple’s forthcoming anthology show, Little America. Cowie says his work on a show should ideally start when the scripts are still being written, rather than in the editing room, where a supervisor attempts to find, match and license a song for a scene that was shot weeks ago. For Master… Read full this story
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