About this episode

This episode explores the differences in music placements between commercials and film/TV, featuring insights from sync writer John Pearson.

Why do some music placements in commercials pay significantly more than TV and film, and how do you actually get them? On this episode of TAXI TV, we sit down with successful sync writer and producer John Pearson to break down exactly what changes when you shift from writing for film & TV to writing for advertising. John’s music has landed worldwide advertising placements with major brands like Chase Card, Hyundai, Samsung, Nissan, FedEx, Target, and Cricket Wireless, but his path wasn’t instant. We’ll explore: - Why commercials often outperform TV/film placements in payouts - What libraries and music supervisors are actually looking for in ad music - How John transitioned from Nashville touring musician to full-time sync writer - The real “secret sauce” behind landing premium advertising placements - How persistence and strategy change everything in the sync world From placements in shows like Outer Banks, S.W.A.T., The Rookie, and more, then breaking into major global ad campaigns, John’s journey is packed with actionable insight for any composer, producer, or songwriter looking to break into sync licensing. If you're serious about getting higher-level placements and…

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