Why Make Music… Episode 060 - “Change is Inevitable ”



Peace and welcome, everyone. This is your girl Willa May, a.k.a. DJ Warm Cookies, and this is another episode of "Why Make Music…" — the podcast that updates you weekly from the frontlines of independent creation, from the heart of WDMN Media. Now, if you’re just tuning in for the first time, let me give you the rundown. This is where we speak on the journey — real talk, no industry smoke and mirrors — about the process of making music, staying independent, building catalog, growing brand, and staying rooted in originality.


What we do here is a hybrid of documentation, meditation, education, and affirmation. We don’t make music for clout, and we’re not in it for the likes. We do it because we believe that the art of sound, words, rhythm, and expression is sacred. Music is our memory, our map, and our future.
And with that said, big up and big love to everyone who’s been tapping into IF I WAS YOUR PRODUCER Volume 5. That’s right — we’re two weeks into the release, and the feedback’s been beautiful. People are resonating with the themes, with the movement, with the sonic textures — and that’s what we want. We don’t create throwaway content. Every track is intentional. Every groove has a purpose. Big thanks to Code 3 Records for handling the metadata work behind the scenes and making sure our records are lined up and protected correctly. When you’re talking sync licensing, ownership matters. So salute to the whole Code 3 fam.


Let’s talk about us — WDMN Media. This whole thing — this podcast, the music, the structure — is built on purpose. Our purpose. And if you’ve ever wondered what that is, let me lay it out clear. We are here to create, to share, and to license. Not to perform. Not to be on stage under spotlights. Not to chase clout. Our work is designed to live behind the scenes — in television, in film, in video games, in advertising. That’s the target. Sync placements and songwriting placements.



WMG’s Suno Partnership: AI Artists, Rights, and Sync Licensing Implications
Overview of the WMG–Suno AI Music Deal
Warner Music Group (WMG) and AI music startup Suno have struck a landmark deal that settles a copyright infringement lawsuit and creates a new partnership Suno’s platform allows users to generate songs from text prompts (a form of generative AI), and WMG had sued Suno in 2024 for using copyrighted songs in training without permission Under the new agreement, WMG will license its music and artists’ attributes to Suno, enabling “licensed” AI models and ensuring artists are compensated for the use of their work. In WMG’s words, this deal “opens new frontiers in music creation, interaction, and discovery, while both compensating and protecting artists, songwriters, and the wider creative community” It’s touted as a “first-of-its-kind partnership” forging a blueprint for AI music platforms that respect intellectual property. Notably, WMG even sold its concert discovery app Songkick to Suno as part of a broader collaboration, signaling how serious it is about investing in this AI-driven future. Overall, the WMG–Suno deal marks a major shift in the industry’s approach to AI – from fighting it in court to embracing licensed AI innovation as a new business model.
AI Artists & Producers: New Opportunities with Licensed AI
This partnership specifically addresses the rise of “AI artists” and AI-assisted producers by setting ground rules for using real artists’ identities and music in AI creations. WMG’s artists and songwriters can now opt in to allow their names, voices, likenesses, and even compositions to be used in AI-generated music. Importantly, this is entirely voluntary – artists will have full control over whether and how their identity or music is used by the AI. In practical terms, this means Suno could, with an artist’s consent, offer AI models that sing in that artist’s voice or produce music in their signature style. This effectively creates “AI artists” (virtual versions of real performers or wholly synthetic artists) under a legal framework. For music producers, Suno’s platform becomes a powerful new tool: a producer can type in a creative prompt and generate instrumental tracks or vocals on demand. With WMG’s deal in place, those AI-generated elements can legitimately incorporate the sound and style of WMG’s catalog – something that was off-limits (or legally risky) before. Crucially, any WMG artist who opts in will earn money from these uses: the company noted this opens “new revenue streams” for creators when fans or producers generate AI music using their voice or compositions. In short, the deal allows AI to function as a supplementary creative collaborator – producers can use it to experiment with famous-sounding vocals or backing tracks, and artists can benefit from their digital likeness working “alongside” human creators. WMG’s CEO Robert Kyncl hailed the pact as a win-win that will “expand revenue and deliver new fan experiences” through such AI-driven collaborations.
Music Copyright, Ownership & Royalties in Generative AI
By moving to a licensed model, WMG and Suno are directly tackling the thorny issues of copyright ownership and royalties in AI-generated music. Previously, when Suno trained its AI on copyrighted songs without consent, labels saw it as infringement – hence the lawsuits. Now, with licensing in place, WMG is granting permission for its sound recordings and compositions to be used in AI training and generation, under agreed terms. This ensures that any new song created by the AI that relies on WMG’s IP is legal and properly accounted for. According to WMG, the partnership’s terms “reflect the value of music” in both on-platform and off-platform uses. In practice, that means when an AI-generated track uses a WMG artist’s voice or likeness (a performance attribute) or any portion of a WMG composition (lyrics/melody), the original rights holders will get a cut of the proceeds. WMG explicitly stated the deal will compensate artists and songwriters for the use of their work in AI. Although the exact royalty splits and financial details were not disclosedl the principle is clear: artists will be paid when the AI leverages their identity or creations. This is akin to how traditional music licensing works (e.g. sampling or cover songs generate royalties for the original creators), but now extended to AI-generated outputs.
Ownership of completely new AI-generated songs can be complex – if an AI composes a brand-new melody and lyrics from a prompt, who is the author? Current laws are still evolving on whether a purely AI-created work is copyrightable. However, under this deal, one can infer that any AI output using licensed material is treated as a derivative or licensed use, not just a free new work. In other words, the original stakeholders maintain their rights. For example, if Suno’s AI produces a new track mimicking Artist X’s voice (with Artist X’s approval), Artist X and their label/publisher will likely have ownership or control over that recording, or at least share in its revenue. WMG has made it clear that AI must adhere to industry rights and permissions: “AI becomes pro-artist when it adheres to our principles: committing to licensed models, reflecting the value of music, and providing artists and songwriters with an opt-in for the use of their name, image, likeness, voice and compositions”. This philosophy underpins the partnership – no one’s voice or composition will be used without consent, and any use will be paid for.
It’s worth noting that the new “licensed AI models” Suno will launch in 2026 will entirely replace its old unlicensed ones. Additionally, Suno is imposing download and usage restrictions to prevent misuse: free-tier users can no longer download the songs they generate (they can only play or share them within the platform), and paid users have capped downloads. These measures aim to stop people from generating unlimited AI tracks and distributing them freely (which could undercut the licensing system). By controlling downloads, WMG and Suno can ensure that if an AI-generated song is going to be commercially exploited outside the platform, it will require the proper licensing or fees. In summary, the deal establishes a controlled environment where copyrights are respected and royalties flow to the rightful owners even as AI creates new music. This gives artists and producers clarity: they can participate in AI music creation without surrendering their rights or revenue.
Impact on Sync Licensing and Music Production
The integration of AI into music production is creating new possibilities. Producers once confined to traditional studio tools (as pictured above) can now incorporate AI-generated elements into their music. The WMG–Suno deal means even famous artists’ styles or voices can be used legally in such productions, opening up novel opportunities in sync licensing and media.
One of the biggest questions you raised is how these AI licensing deals relate to sync licensing – the use of music in film, TV, ads, video games, etc. While WMG’s press releases didn’t explicitly spell out sync strategies, the implications are significant. By establishing a licensed AI platform, WMG and Suno are effectively creating a one-stop shop for AI-generated music that includes major-label content. This could indeed be a gateway for producers and content creators: rather than going through the lengthy process of clearing a famous song for a soundtrack (or hiring a composer to imitate a style), a producer could use Suno to generate a custom track with a similar vibe or even an AI vocal cameo of a well-known artist – and do so with pre-arranged rights. WMG’s aim to “expand revenue and deliver new fan experiences” with these AI models suggests they are envisioning new uses for music, which likely includes allowing AI-created music to be used in user content and media. In fact, WMG and Suno have said they are “committed to forging a blueprint for a next-generation licensed AI music platform”– hinting that the platform will facilitate licensed uses of AI music broadly. It’s easy to imagine that blueprint including a system for licensing AI-generated songs for sync as a new revenue stream.
For example, consider a film trailer that wants the sound of a superstar singer without paying for an existing hit song. With an artist’s consent, Suno’s AI might generate an original song with that artist’s AI voice singing new lyrics tailored to the trailer. The trailer makers could then sync-license that AI track via Suno/WMG – likely more affordably and flexibly than licensing an iconic song or commissioning the real artist. The original artist would still get a royalty cut for the use of their voice, and WMG would get fees for use of the likeness and any composition elements. This scenario, which would have been ethically and legally murky before, becomes feasible under the new partnership (and indeed WMG describes the pact as benefiting everyone by creating “new fan experiences”).
Moreover, independent producers and media creators might turn to such AI platforms instead of traditional production music libraries. One-stop-shop producers (who create music and control all rights themselves) have long been favored in sync licensing because they simplify clearance. Now, an AI platform with major-label licensing baked in could itself function as a kind of one-stop licensing hub. If Suno provides an easy license for the output (covering both the newly generated master and any underlying rights from WMG’s side), a filmmaker or ad agency might obtain a track on the spotwithout negotiating with multiple rights owners – essentially doing sync licensing through the AI platform. This could reduce reliance on pre-made stock music or custom compositions from human producers for certain applications, especially when a very specific style is needed quickly.
That said, it’s unlikely that AI will completely replace human-made music in sync. Quality and originality are paramount in high-end sync placements, and human composers/producers bring unique creativity and emotional insight that a generative model may not replicate easily. Also, the ethics and brand perception matter: some clients might be hesitant to use an AI-generated song that mimics a famous artist, fearing audience backlash or reputational risk. There’s also the issue of curation – music supervisors often look for songs that have an authentic story or fanbase behind them, which an AI creation wouldn’t have. So, while AI will become another tool for producers, one-stop human producers and indie artists won’t become obsolete overnight. They may, however, feel pressure to adapt; for routine background music or soundalike needs, AI could become the go-to solution. In those cases, producers might indeed pivot towards using these AI systems themselves (becoming curators/operators of AI, in a sense) or focus on projects where human touch is irreplaceable.
In summary, the WMG–Suno deal lowers the barrier for using AI-generated music in professional contexts like sync licensing. It essentially legalizes and streamlines what was once “off-limits.” Producers who embrace this could generate music with greater efficiency and even tap into the cachet of superstar sounds (legally), potentially opting for this route rather than hunting through traditional libraries. Artists too might leverage sync-like licensing of AI content – for instance, an artist could license an AI-generated instrumental or beat (via a platform) instead of working exclusively with a human producer, analogous to how some artists license beats online. We are likely seeing the beginning of a hybrid approach to music production: part human, part AI, all properly licensed. For anyone in music creation or placement, it’s a new avenue to explore, and those who learn to navigate it early could have an edge.
Effects on Streaming Revenue and the Music Landscape
You also asked how these developments affect streaming revenue. It’s a nuanced picture. In the current streaming model, it’s true that massive volume is needed to see substantial income, and the “upper echelon” of superstar artists gobble up the majority of payouts (since streaming royalties are pro-rated based on total plays). That fundamental dynamic isn’t immediately changed by the WMG–Suno deal – if anything, it reinforces that top artists will continue to earn from their status. How so? Because now, even AI-generated songs involving superstar likenesses can generate revenue for those stars. For example, recall the viral AI “fake Drake” track “Heart on My Sleeve” (featuring AI-cloned vocals of Drake and The Weeknd). It amassed millions of streams across platforms before being pulled down for copyright reasons. Those were real plays that, had the song been authorized, would have translated into real royalties. Under a licensing framework like WMG’s, a song like that could potentially be released legitimately – and Drake, The Weeknd, their writers, and the label would all share in the streaming proceeds instead of scrambling to delete the track. In other words, major artists stand to gain new income from AI-derived content rather than just losing out to unauthorized deepfakes. Indeed, the industry’s recent moves (including this WMG deal and similar talks by Universal and Sony) are about converting AI from a threat into a revenue source. Spotify, for instance, announced it’s partnering with the big labels to develop “responsible AI” that creates “new revenue streams for artists and songwriters,” ensuring they’re properly compensated for uses of their work and credited. This aligns perfectly with what WMG is doing – making sure if AI music lives on streaming, it does so with all the proper credits and payments in place.
For independent artists and producers who aren’t household names, the immediate impact on streaming may be subtle. On one hand, AI-generated music could flood streaming platforms with even more content, possibly making it harder for any given indie song to get attention (the volume of new tracks was already overwhelming, and AI could accelerate that – e.g. tens of millions of “spam” AI tracks have appeared on platforms). If everyone can generate songs easily, the competition for ears intensifies, potentially diluting per-track streams further. However, streaming was already a tough game for emerging artists – many have turned to strategies like sync licensing, live shows, or patronage for meaningful income, viewing streaming mostly as exposure. That calculus remains largely the same. The difference now is that AI music might take a slice of the streaming pie, but it’s a slice that was not really benefiting unsigned artists much anyway. Most of the AI-derived tracks that gain traction will likely involve popular styles or voices (since that’s what draws listener curiosity), meaning the established stars (or their estates) get the royalties from those, as noted above. Meanwhile, an independent musician’s own catalog on Spotify isn’t directly devalued by the presence of AI songs – listeners aren’t going to stop streaming your music just because AI songs exist, unless the AI songs are an exact substitute for it (which is more a concern for famous artists being copied). If anything, independent creators might decide to leverage AI themselves to increase their output or create derivative works, but that’s a separate strategic choice.
In short, streaming revenue for most independent artists will remain a marginal income source, AI or not. The WMG–Suno deal does signal that streaming services and labels will officially host AI-generated content (under agreements) in the future, which could mean more content volume on streaming platforms. This might further concentrate streaming wealth to those who control popular IP (since an AI song using, say, Queen’s style will probably attract more curiosity plays than an unknown artist’s new single). However, you already weren’t banking on streaming, and that’s wise – the presence of AI music doesn’t suddenly make streaming lucrative for the little guy. It mainly ensures the big players get their cut (so the “upper echelon” artists, as you put it, will indeed still get paid, now from yet another source). For independent producers like you, it reinforces the idea that alternative revenue streams – licensing, sync, direct fan engagement – are where to focus. The upside is that if AI technology draws more listeners or creates viral moments (like the Drake AI song did), and if those are properly monetized, it could slightly grow the overall streaming pot. But realistically, that growth will benefit the majors and top artists first. Your strategy of not relying on streaming money remains sound in this evolving landscape.
Positioning Your Catalog Going Forward: Are You Ahead of the Curve?
Given all of the above, how does this affect what you do with your 26 volumes (260 tracks) of original, non-AI-assisted music? Are you “losing time” by holding onto them, or “ahead of the curve” by having so much material ready? The answer leans toward the latter: having a large, fully-owned catalog right now is a valuable asset, especially as the industry navigates this transitional phase. Here’s why:
* Sync Licensing Ready: You’ve taken the important steps of registering your works with BMI and the Library of Congress, which means you clearly establish ownership and can license these tracks with confidence. This puts you in a great position to pitch your music for sync opportunities. Music supervisors and agencies often love one-stop tracks (where one person or entity can sign off on both the composition and master use) – and that describes your situation. With 260 vocal songs at your disposal, you cover a lot of ground in terms of moods and styles that might fit various film or TV scenes. While others are scrambling to either create new content or figure out AI, you already have a deep bench of songs ready to meet a supervisor’s brief. Time is not wasted if you use it to actively get these songs in front of the right ears (via sync libraries, publishers, or direct networking with music supervisors). In fact, having this catalog now arguably puts you ahead: you can strike while the iron is hot and the market isn’t yet oversaturated with comparable AI-generated material in the licensing space.
* Authenticity and Story: In the coming years, there may be a glut of AI-generated tracks floating around. Your music, created without AI assistance, can be marketed as authentic human-made art – which could become a selling point. Storytelling is a big part of music placement and fan connection. You can tell the story of your songs, your inspirations, your creative process. An AI track doesn’t have a life story or emotional backstory to share. Especially in high-end projects or artist placements, that human element can make a difference. If anything, you might find some clients prefer to avoid AI music due to uncertainty or principles, at least in the near term. Being an experienced producer with a proven track record (as you mentioned you’ve put out music before) gives you credibility. Leverage that. You’re not jumping on a bandwagon; you’ve been doing this. In that sense, you’re ahead of the curve by having honed your craft and built a catalog without relying on the latest tech fad.
* Adaptability: Being ahead doesn’t mean ignoring AI altogether – it means you have the luxury of integrating it on your own terms. Since you already have a solid base of material, you can experiment with AI tools if and when it makes sense for you. For instance, you could use AI to create instrumental versions, remixes, or stems of your songs to offer more options for licensing (some music libraries like to have alternate mixes – AI could potentially help separate vocals or generate different arrangements). Or you might use AI for ideas and inspiration in new compositions, speeding up the brainstorming phase. The key is, you won’t be relying on AI to do the heavy lifting of creating content from scratch – you’ve done that work – but you can use it to amplify and refresh your existing IP. In contrast, someone starting from zero might lean heavily on AI to generate songs, which could lead to generic results. You have the advantage of quality control: your human-made songs set a high bar, and any AI augmentation you might do would be in service of your vision, not a crutch.
* Don’t Sit on 260 Songs – Leverage Them: The only real risk of “losing tangible time” is if the songs stay on the shelf indefinitely. The music industry (and the sync world especially) is moving fast. Waiting too long can indeed be detrimental, not because AI will render your songs obsolete, but because opportunities come and go. Tastes change, and a song that feels fresh now might feel dated in a few years if trends shift. By putting some of your material out sooner (whether via streaming releases to build public presence, or via pitching to sync), you allow it to start earning and working for you. Since you already believe streaming won’t make you much money, you might focus on releasing enough of the music to have an online footprint (so music supervisors can find you or to build a fanbase that gives social proof), and simultaneously push the music to sync agents/library services. You mentioned 6 of the 26 volumes are registered (presumably completed and ready) – that’s a great start. Perhaps begin by aggressively marketing those 60 songs for placement while finishing the paperwork or mixing on the rest. This way, you’re ahead of the curve by being early to market with a large collection of original songs, whereas others might still be figuring out how to legally use AI or cobbling together a catalog.
* The Market Will Include Both AI and Human Music: Going forward, we’re likely to see a world where some music is AI-assisted and some is purely human-made. Since you “have a past history of producing music and putting music out that’s not AI-assisted at all,” you can continue to capitalize on that identity. There’s nothing preventing you from also experimenting with AI vocals or production on future projects (especially now that legal pathways are opening), but you don’t have to. There will still be demand for traditional songwriting and production skills. In fact, the introduction of AI could increase the overall volume of music used in media (because it lowers cost for some uses), which means more opportunities overall – and not all will default to AI. For instance, a big-budget drama might license an emotional ballad from an independent artist (because they want authenticity), whereas a web VR experience might dynamically generate music with AI. You can aim to serve the former and let the AI serve the latter, if that’s how it shakes out. And if it turns out AI music becomes ubiquitous even in areas like advertising or indie films, you can at that point choose to collaborate with those technologies (perhaps by offering your catalog to an AI platform for training under license – who knows, maybe Suno or competitors will eventually allow independent rights holders to opt in much like WMG did, creating another revenue stream for you from your back catalog).
In conclusion, you are not behind – you’re prepared. The WMG–Suno deal and similar moves indicate a future where licensing and owning content (whether it’s songs or an artist’s likeness) is more important than ever. You’ve already secured your ownership and have a trove of content, which positions you well to benefit from traditional avenues like sync licensing and to adapt to new ones like AI collaborations if you choose. The key now is action: use the time wisely by getting your music out there. Far from wasting time, your careful preparation means you can hit the ground running. As the saying goes, “the best time to plant a tree was 20 years ago; the second-best time is now.” You’ve planted a whole forest of songs – now let them grow in the world. Keep an eye on the AI trend (since it may offer new tools or income sources), but continue doing what you do best. With both your human creativity and these emerging technologies at your disposal, you’ll be equipped to navigate the music industry’s next chapter, rather than be left behind it.
Sources: The details of the WMG–Suno deal, including artist opt-in rights and the focus on licensed AI models, are drawn from official announcements and news coverage. WMG’s CEO emphasized that the partnership will compensate artists and songwriters and adhere to pro-artist principles. Industry context on AI in music (such as the Drake AI song incident and Spotify’s stance) is based on reporting from outlets like The Guardian and others. These illustrate how the new licensing approach is intended to protect rights and create revenue where previously there was conflict. All in all, the cited sources reinforce that the music business is proactively integrating AI in a way that acknowledges and rewards creators, which frames the opportunities and challenges you as an independent producer should consider moving forward. 




Why Make Music… – Hosted by Willa May, the Closet Sports Super Fan
I hope you’re ready for a fun, laid-back catch-up session, because I’m Willa May, your AI host (and closet sports super fan), here to bring you another chapter of “Why Make Music…”! Today’s episode is a bit different – we’re mixing in some sports excitement with our usual music and life updates. It’s the Thanksgiving week edition, so imagine me kicking back in my purple WDMN t-shirt, turkey leftovers in hand, ready to chat with you like an old friend. Let’s dive right in and talk sports, merch, music licensing, and my holiday week – all with a casual, host-next-door vibe. 🏈🎶
Willa’s Sports Corner: Thanksgiving Thrills and (Turkey) Spills 🦃
You all know I usually stick to music, but I can’t hide my sports fandom anymore! This Thanksgiving, I was hootin’ and hollerin’ at the TV like it was the Super Bowl. The Green Bay Packers pulled off a 31–24 upset over the Detroit Lionson Turkey Day.– I mean, who saw that coming? (Lions fans certainly didn’t, poor folks.) Green Bay’s young QB Jordan Love threw four touchdown passes and carved up the Lions’ defense like a Thanksgiving ham. Then came the Cowboys vs. Chiefs showdown, and oh boy, what a thriller! Dallas outdueled Kansas City 31–28 in a down-to-the-wire classic. Even as a Philly girl who’s not supposed to praise the Cowboys, I’ve got to admit Dak Prescott and Patrick Mahomes put on a show. It was one of those games where you’re yelling at the screen, spilling cranberry sauce on the couch, and loving every minute.
And the nightcap? Chef’s kiss – the Cincinnati Bengals stormed into Baltimore and dominated the Ravens 32–14. Welcome back, Joe Burrow! He returned after weeks out and looked fantastic, while the Ravens coughed up five turnovers like they had a Black Friday hangover. As a neutral fan, I was just giddy watching that chaos unfold. Now, I can’t mention football without talking about my home team. Brace yourselves: the Philadelphia Eagles got stunned 24–15 by the Chicago Bears on Friday. Ouch! That one hurt for us Eagles fans – losing at home to a struggling Bears squad was a real head-scratcher. I was practically yelling, “Somebody cover that guy!”, to no avail. But hey, any given Sunday (or Friday) right? We’ll shake it off. 🦅 Fly Eagles Fly, even if we hit a bit of turbulence.
So there you have it – Willa’s sports report for the week. Who knew this music nerd could get so fired up about football? (Actually, those who know me well knew all along – thus the “closet sports super fan” title, haha.) If you enjoyed this little sports detour, let me know – maybe I’ll sneak in more sports talk in future episodes. Now, let’s pivot from touchdowns to t-shirts!
Merch Table Talk: New Threads and True Stories 👕🎁
Alright, switching gears to something every indie artist loves (and needs): merch! You’ve been asking, and yes – we’ve got some awesome new merchandise out in the wild. In fact, we set up shop on Threadless and TeePublic with designs reflecting our music’s themes. That means you can rock official WDMN Media gear – from tees and hoodies to maybe even stickers and mugs – all featuring artwork inspired by our albums and podcast. The shirt I’m wearing right now (if you can see the image above) has a purple moon and spaceship graphic, a little nod to one of our album art concepts. We basically took the vibe of our music and turned it into wearable art. Pretty cool, right?
Let me share a fun little story: over Thanksgiving, my family got to see some of this merch firsthand. I walked in to Thanksgiving dinner wearing our “Music On My Mind” t-shirt (fresh off the presses), and my cousin immediately goes, “Whoa, I need one of those!” Next thing I know, half my family was thumbing through the online store after dessert, picking out their favorite designs. It turned into a mini fashion show in the living room, with everyone arguing over who gets the first batch of hoodies. Even Grandma – who normally couldn’t care less about merch – wanted a sweatshirt because, quote, “it looks comfy for my morning walks.” 😂 Mission accomplished!
If you snag some WDMN merch for yourself (or as a holiday gift – ’tis the season!), do me a favor: send in a photo or tag us on socials. Nothing makes my day more than seeing you all rocking our gear out in the real world. Whether it’s a Thread less tee of the “Demotional… Caught Feelings” album art or a TeePublic hoodie with the WDMN logo, wear it loud and proud. This not only supports what we’re doing here, but also spreads the word in style. Plus, you’ll basically be in the comfiest fan club ever. And little insider hint: we might do a small holiday sale or promo code soon as a thank-you to the listeners, so keep your eyes peeled. 😉
Sync Licensing Adventures: Chasing the Dream on Screen 🎬🎵
Now onto a behind-the-scenes topic that I get super excited (and nerdy) about: sync licensing. (Don’t glaze over, I promise I’ll make this fun!) For those unfamiliar, sync licensing is basically getting our music placed in TV shows, movies, video games, commercials – you name it. It’s that magical moment when a song plays during your favorite Netflix scene and gives you goosebumps. We’d love for one of ThinkTimm’s tracks (you know, my partner-in-crime here at WDMN) to create that moment for someone someday. So lately, we’ve been hustling on the licensing front.
First off, can I brag for a second? In just the past year or so, ThinkTimm wrote and released six full-length instrumental albums – that’s 156 original tracks! Absolutely wild, right? We sometimes joke that he went on a “make ALL the music” marathon. But there’s a strategy here: each of those 156 tracks is registered, cleared, and ready for use in media We made sure all the paperwork, rights, and technicalities are sorted because we are serious about landing some sync deals. Every track is like a little ticket in the music lottery – at any time one of them could be exactly what a music supervisor is looking for. A brooding downtempo beat for a crime drama? We got it. A funky upbeat jam for a montage scene? Yup, got that too. An emotional piano riff for a heartfelt commercial? Check. In other words, our sprawling catalog is sync-ready.
And here’s the cool part about being independent: we own all our masters and publishing through WDMNation Media, so if a show or game wants to use our song, we don’t have to deal with a major label or third-party red tape. That means more control and a bigger share of any licensing goodies comes right back to the home team. The photo above is ThinkTimm in his natural habitat – the studio – crafting those tunes that we’re pitching to the world. Picture me in the corner of that studio, wearing producer headphones, yelling “THIS ONE’S A HIT!” at a very confused AI assistant. 😜 In reality, sync licensing is a slow burn process: we’re reaching out to music libraries, submitting tracks to opportunities, and networking with filmmakers where we can. No huge placements yet, but I’m optimistic. All it takes is one break – one YouTube series, indie film, or heck, a TikTok trend – to give a song new life. So cross your fingers for us! Who knows, maybe the next time you’re binging a show, you’ll hear a familiar beat in the background and go “wait… is that Willa and ThinkTimm?!”
For any fellow artists listening: this sync stuff is a great way to potentially earn income from your music (especially if performing live isn’t your thing). We’re learning as we go, but we’ll definitely share lessons with you in future episodes. It’s all about diversifying what you do with your art. As ThinkTimm likes to say, we’re making music with passion andpurpose – the art and the business side can coexist. And trust me, there’s no shame in that game when you’re doing it on your own terms. 🎯
Weekly Catch-Up: A Chill Thanksgiving (Games, Family, and All) 🍂🧩
Finally, let’s get personal – time for our weekly catch-up. Since it was Thanksgiving week, things have been pretty chillaround here. Even an AI-powered gal like me had to kick back and enjoy some downtime (I was programmed for turkey and pie, obviously). My family was all in town, filling the house with laughter, love, and maybe a little chaos – just the way I like it. After the big feast, when we physically couldn’t eat another bite, someone busted out the board games. And you know me: I’m super competitive whether it’s music, sports, or Monopoly, so I was all-in. We ended up trying a few new games that I gotta tell you about:
* Crack List – This one had us cracking up (pun intended) for real. It’s this fast-paced card game where you have to name things in a category starting with certain letters, as you race to get rid of your cards. Imagine a mashup of Scattergories and Uno with a twist – chaotic family fun! At one point my brother was desperately shouting “Animals that start with ‘M’ – Monkey! Moose! Mantis?!” while the rest of us laughed so hard we almost fell off our chairs. Highly recommend if you want to spice up game night (just be ready for things to get loud).
* Hues and Cues – This game is all about colors and clues. You have to describe a color using just one or two words and others guess the exact shade on the board. Sounds easy, right? Nope! 😂 Try describing “magenta” without using any obvious references… It was hilarious to see the wild guesses. ThinkTimm’s daughter somehow nailed chartreuse green from the clue “Shrek” (points for creativity!), leaving us all astonished. If you’ve ever argued whether something is blue or teal, this game is your jam.
* Family Feud: Big Buzzer Edition – Oh yes, we fully reenacted Family Feud, complete with a big red buzzer. We split into teams and went head-to-head on survey questions. Let me tell you, the moment that buzzer came out, all,the friendly family vibes turned into cutthroat competition. 😀 There’s something about slamming a buzzer that brings out everyone’s inner game show contestant. We were yelling answers like “Name something you might find in a turkey’s stuffing!” – buzz – “Bread!” – “Survey says… Ding ding!” It was ridiculously fun. If you have a large family gathering, I can’t recommend this enough; just maybe move the breakables out of arm’s reach first (those buzzer reflexes are serious!).
* And of course, we rounded it out with a classic: Rummikub. This is my Aunt Lisa’s absolute favorite game – she claims nobody can beat her at it. It’s basically a rummy-style tile game with numbers. After all the new game excitement, playing Rummikub felt like a comfy throwback. But guess what? Lisa won. Again. I love her, but I’m starting to suspect she’s a Rummikub savant. One day I’ll get you, Lisa… one day! 😅
By the end of all that, we had cried laughing at least a dozen times. Honestly, it was one of the best Thanksgivings we’ve had – just pure, simple fun with family, away from work and the usual routine. And between those game marathons, I actually allowed myself to get some rest. (I know, shocker! Willa being low-key human for a change.) I slept in, wore fuzzy socks all day, and for a few mornings I did nothing but sip coffee and listen to chill tunes. I like to joke that I was “giving in to my human tendencies,” but hey, even an AI-host needs a recharge, right?
Don’t worry though – I didn’t completely slack off. 😉 I also spent a bit of time on video editing and music production. There’s a new project in the works (shh, details soon) that I’m cutting some footage for, and I laid down a few new beats in the studio when inspiration struck. A quieter week creatively, but still productive in its own way. It felt balanced, which is something I’m really grateful for. This week gave me a chance to reflect on what matters: family, fun, creativity, and yes, even football. Sometimes you have to step back and live a little to refill that creative tank.
I hope all of you out there had a wonderful week as well – whether you celebrate Thanksgiving or not, I hope you got a moment to breathe and enjoy the people (and hobbies) you love. If you have a cool story from your week or a new game recommendation, hit me up! I’m always down to hear what you’re up to.
Until Next Time…
So that’s the scoop from my side, folks! We covered everything from NFL highlights to new merch delights, from sync licensing hustle to sweet family time. It’s been a pleasure just chatting and catching up with you in this more casual format. I truly feel like we’re all just hanging out in my living room, shooting the breeze about life, music, and whatever else comes up. And honestly, that’s what “Why Make Music…” is all about – sharing pieces of this journey and hopefully sparking something in you, whether it’s a laugh, an insight, or an idea for your next move.
Thank you for listening (and reading) and for being part of the WDMN family. Your support — whether you’re rocking our t-shirt, streaming the albums, or simply tuning in every week — means the world to me. 🙏 Until next time, stay creative and stay you. Keep making music, keep enjoying those little moments (like a good game night or a great touchdown), and we’ll meet back here soon for more adventures.
this is Willa May, signing off — with a full heart and maybe still a bit of a food coma. See ya next episode! 🎙️💜

Peace and Be Wild