“The Music Licensing Success Roadmap” is designed to provide a comprehensive guide for musicians aiming to get their tracks placed in TV shows, films, and other media. Each stage covers crucial steps in building a successful music licensing career, offering tips, examples, and resources to help you along the way. Step 1: Creating Sync-Ready Tracks The first step in licensing success is to create tracks that are suitable for sync placements. Music supervisors are looking for songs that can enhance visual media, so your tracks need to be both high-quality and emotionally engaging. It’s not just about having a great song — it’s about creating music that resonates with listeners and complements the mood or narrative of a scene. To achieve this, your tracks should be professionally mixed and mastered to meet broadcast standards. Think about it like this: music supervisors are inundated with submissions, and low-quality production is an instant turn-off. If you’re not yet a good enough producer to achieve this goal, consider working with an outside producer to help you get your tracks up to speed. For many of the tracks I’ve licensed over the years, I’ve recorded the basic tracks in my home studio and then collaborated with a more experienced producer, like Gary Gray for example, who helped finish the tracks by mixing and mastering them. This is more cost effective than simply going into a studio at the very beginning of your project and paying by the hour for the entire session, but can still make the difference in the track being ready to be licensed, or not. Instrumental versions of your tracks are also essential since vocals can sometimes clash with dialogue in certain scenes. Make sure your songs are emotionally impactful. Can they underscore a dramatic scene, a triumphant moment, or a romantic sequence? The goal is to study the kinds of music currently trending in sync licensing to get a feel for what works and write music that broadly works in the context of licensing without losing your unique voice. This isn’t as hard as it sounds, since most stories reflect universal themes that chances are you are already writing about. Related resources: Music Production Fundamentals — This 8 hour video course, led by #1 Billboard charting producer Gary Gray is focused specifically on how to produce Music for Licensing Opportunities by Independent Musicians and Home Studio and Project Studio owners. Backed by over 30 years of research and thousands of hours of hands-on experience in studios internationally, including a successful track record of licensing, radio airplay and album production — including released material for multi-platinum recording artists — this course is now available to you for a small fraction of the market value for such a course. Included with your Sync Lab membership here: pricing — THE SYNC LAB Step Two: Understanding and Registering Rights One of the biggest mistakes musicians make when trying to get their tracks placed is neglecting the legal side of things. You have to understand and protect your rights. For successful licensing, you need to be clear about what you own. Master rights refer to ownership of the recording itself, while publishing rights refer to the composition. If you’re collaborating, make sure you have clear agreements in place with your co-writers. Next, register your music with a performing rights organization, or PRO, like ASCAP, BMI, or SESAC in the United States. This is crucial for collecting performance royalties whenever your music is used. If you’re planning to manage your own licensing deals, consider setting up your own publishing company. This gives you more control over your music and allows you to negotiate from a stronger position. Setting this up can seem daunting, but there are tools and resources that make it manageable, like LegalZoom or consulting with an entertainment lawyer. Related Resources: The Complete Musician’s Guide To Music Publishing — An exclusive, in-depth, hour-long video course designed to empower musicians like you to create and run your very own music publishing company. No more middlemen or losing out on your hard-earned royalties. This course will teach you how to manage your own music, retain all your rights, and ensure you get paid what you deserve. Included with your Sync Lab membership here: pricing — THE SYNC LAB The Ultimate Music Licensing Contract Bundle Navigating the complex landscape of music licensing can be challenging, but with The Ultimate Music Licensing Contract Bundle, you can streamline your processes and ensure you have all the necessary agreements at your fingertips. This comprehensive bundle includes a detailed breakdown of essential contracts, each designed to protect your rights and secure fair compensation for your work. Included with your Sync Lab membership here: pricing — THE SYNC LAB Step Three: Building a Professional Portfolio Once you’ve got your tracks and legalities sorted, the next step is to build a professional portfolio. Think of this as your calling card. When a music supervisor checks you out, they’re looking for ease of access and a clear sense of who you are. A dedicated website is a must. It doesn’t have to necessarily be fancy, but it should be simple to navigate and include your best sync-ready tracks. Use streaming links for your music so supervisors can easily access your work without downloading files. Also, include a concise bio that highlights your experience, along with any testimonials if you’ve had placements or received positive feedback from industry professionals. Professionalism in presentation matters — a lot. Step Four: Researching and Targeting Opportunities Success in sync licensing depends on your ability to find the right opportunities and tailor your approach to fit specific projects. This isn’t just about casting a wide net; it’s about targeting the right people. Spend time watching TV shows, films, and commercials to understand what types of music are being licensed. Notice the kinds of songs that work in different scenes, and look for patterns. Explore platforms like TuneFind to see what’s trending. Then, dig into the industry to identify music supervisors who are a good fit for your style. If you’re serious about making connections, consider using a resource like IMDBPro to find contact information and past projects of music supervisors. Focus on up-and-coming films and independent projects too — they often have smaller budgets but provide valuable experience and industry connections. Related Resources: TuneFind: Music from TV Shows & Movies | Tunefind IMDB Pro: IMDbPro Official Site | Start Your Free Trial Step Five: Establishing Industry Relationships Building relationships in this industry is key. It’s not just about talent; it’s about who knows you and trusts you. Networking might feel intimidating at first, but remember that everyone in the industry started somewhere. If you can, attend events like music and film festivals, industry conferences, or even local networking meetups. You don’t have to pitch your music right away. Instead, focus on getting to know people, understanding what they do, and making genuine connections. When it feels right, you can introduce your work. If you’re working remotely or during challenging times, consider engaging on professional platforms like LinkedIn or through dedicated music industry forums. A simple introduction with a short, personalized message can go a long way, especially if you’re reaching out to someone you admire or whose work you’ve followed. Step Six: Pitching to Music Supervisors When you’re ready to pitch your music, preparation is everything. This is where many musicians drop the ball by sending generic emails with links to every track they’ve ever made. That approach won’t get you far. Your pitch needs to be concise, professional, and targeted to the specific project or supervisor you’re reaching out to. Start with a short introduction about who you are and why you’re contacting them. Don’t over-explain. Mention the tracks you’re including, and provide direct links rather than attachments or downloads. Keep the pitch short and clear, but include a brief narrative about each song’s emotional impact or ideal use. For example, if your track has a soaring chorus perfect for a victory scene, let them know. This helps supervisors visualize where your music could fit into their projects. Related Resources: Online Music Supervisor Directory — Your sync lab premium membership includes access to the full version of our online sync licensing directory, which includes an extensive list of music supervisors and their contact information, as well as music libraries, music publishers, music placement companies and more. Email Templates — Craft the perfect email for every sync opportunity. Our professional templates help you reach out to music supervisors, libraries, and other industry professionals with confidence. Whether you’re submitting music or following up, these templates save you time and ensure your communication is clear and effective. Learn more about The Sync Lab here: pricing — THE SYNC LAB Listen to my recent podcast with music supervisor Pamela Liptek here. Step Seven: Negotiating and Closing Deals If your music gets the interest of a music supervisor, congratulations — that’s a huge step. But now it’s time to handle the business side. Negotiating a deal can be nerve-wracking, especially if it’s your first one, but the key is to be clear about your licensing fees, sync terms, and royalty arrangements. Rates vary depending on the size of the film and the song’s role, so don’t be afraid to ask questions and gather all the information you need to feel comfortable. If you’re not confident in your negotiating skills or don’t fully understand the terms being offered, consult an entertainment lawyer who can help you protect your rights and make informed decisions. Step Eight: Managing Royalties and Follow-Ups Once your music is placed, the work doesn’t stop there. Managing your royalties and maintaining relationships is just as important as getting the placement in the first place. Keep track of your earnings with a reliable system — whether it’s a simple spreadsheet or a dedicated royalty management tool. And don’t forget to follow up with the music supervisors or clients you’ve worked with. Send a brief message thanking them for the opportunity and expressing your interest in future projects. This kind of professionalism goes a long way and can help build lasting relationships that lead to more placements down the road. Related resource: Submission Tracking Tool — Stay organized and keep track of your music submissions with our powerful submission tracking tool. Whether you’re pitching to music supervisors or submitting to libraries, this tool helps you monitor where your tracks are being considered and their status. Included with your Sync Lab membership: pricing — THE SYNC LAB By following this roadmap, you can navigate the complex world of sync licensing with confidence and clarity. Remember, it’s a journey that takes time, persistence, and a genuine love for your craft. If you’re ready to dive even deeper, join The Sync Lab as a premium member to unlock all our resouces.
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In 2024, the sync licensing industry faces both opportunities and challenges, shaped by rapid technological advancements, changing consumer preferences, and evolving legal frameworks. The demand for sync placements remains strong, fueled by the ongoing expansion of streaming services and the proliferation of original content across various platforms like Netflix, Amazon Prime, Disney+, and more. However, the industry is also grappling with the implications of artificial intelligence (AI) and shifting trends in music genre preferences.
The Impact of AI on Sync Licensing AI is emerging as a significant force in the sync licensing world, presenting both threats and opportunities. On the one hand, AI-generated music is becoming increasingly sophisticated and capable of producing music that could potentially replace traditional production music. This has raised concerns among music supervisors and production libraries. AI-generated music is often more cost-effective and easier to license, as it eliminates the complexities associated with clearing multiple rights. However, the legal landscape surrounding AI music is still evolving, with many uncertainties about copyright ownership and infringement. This ambiguity has so far prevented a widespread adoption of AI-generated music in mainstream media content. Despite these challenges, AI tools are also being used to enhance the sync licensing process. AI-powered music search systems, such as those developed by AIMS, are helping catalog owners streamline their music discovery and licensing processes. These tools use advanced algorithms to match music tracks with specific moods, genres, or scenes more effectively than traditional search methods. As a result, music supervisors can find the perfect track for a particular project more efficiently, saving time and reducing costs. Genre Preferences and Market Trends The sync licensing market is experiencing a shift in genre preferences, reflecting broader cultural and societal trends. Hip-hop and R&B continue to dominate, especially in shows that aim to appeal to younger, urban audiences. For example, the TV series "Insecure" on HBO has effectively used contemporary hip-hop and R&B tracks to enhance its storytelling and connect with its audience. The popularity of these genres in sync placements highlights their versatility and broad emotional appeal. Indie and alternative rock also remain popular, particularly in dramas and independent films. These genres often provide the raw, authentic sound that directors and producers seek to evoke specific emotions or atmospheres. Shows like "The Bear" have effectively utilized indie tracks to underscore their narratives, drawing audiences deeper into the on-screen drama. At the same time, there's a growing interest in genres like lo-fi and chillwave, which are often used in commercials, documentaries, and lifestyle programming for their relaxed and introspective qualities. The Rise of Video Game Adaptations and Sync Opportunities The adaptation of video games into television series and films is creating new opportunities for sync licensing. Video game properties with rich musical histories are particularly well-positioned to benefit from this trend. For instance, Amazon’s adaptation of "Fallout," a popular video game series known for its extensive use of 1940s and 1950s music, has opened up significant sync opportunities for tracks from that era. Artists featured in the original game soundtracks, such as The Ink Spots and The Andrew Sisters, have seen a remarkable increase in streaming numbers following the release of the TV series. This trend suggests that as more video game adaptations are developed, there will be a corresponding increase in demand for sync licensing that taps into nostalgic and iconic music catalogs. Challenges and Strategic Adaptations Despite the promising trends, the sync licensing industry faces several challenges. The complexity of music rights clearance, particularly for games and multi-platform content, remains a significant barrier. Industry insiders have expressed frustration with the often convoluted and time-consuming process of obtaining the necessary licenses. The high costs associated with music rights, particularly for well-known tracks, can deter producers from using them, opting instead for production music or AI-generated alternatives that offer more straightforward licensing processes. To navigate these challenges, industry experts suggest that rightsholders and music supervisors need to modernize their commercial strategies. This includes leveraging new technologies, such as AI and machine learning, to improve the efficiency of music search and licensing processes, and adopting more flexible licensing models that cater to the needs of different media producers. Embracing these technological shifts, rather than resisting them, could help the industry adapt to the changing landscape and capitalize on new opportunities. Conclusion The sync licensing industry in 2024 is at a crossroads, balancing the traditional appeal of commercial music with the potential disruption of AI and other technological advancements. As the industry continues to evolve, those who can adapt to these changes—by embracing new technologies, staying attuned to shifting genre preferences, and exploring new sync opportunities across emerging media formats—will be best positioned to thrive in this dynamic environment. The next few years will be crucial in determining how the sync licensing landscape will shape up, particularly as the legal and technological environments surrounding AI-generated music become clearer. For now, the future of sync licensing looks promising, with plenty of opportunities for those willing to innovate and adapt. The industry’s ability to harness the power of AI, while maintaining the authenticity and emotional resonance of music, will be key to its continued growth and success. References: Tracklib. (2024). Music Producers and AI: A Survey Report. Tracklib.com. TuneCore. (2024). The Role of AI in Indie Music Production. TuneCore.com. There are essential things you should have at the ready, before you start actively pitching your music for music licensing opportunities.
You can download a free, PDF version of The Music Licensing Checklist, for future reference, here. These are the essentials that are necessary to start pitching your tracks. I’ve been asked many times, over the years, what is needed to get started in licensing, so I’ve put together a checklist of things you should have ready to go and things you should do, prior to pitching your tracks. Ten to twenty, high quality, fully produced, ready to be licensed tracks. There isn’t a hard and fast rule when it comes to how many tracks you need to start licensing your music, but based on my own experience, and hundreds of interviews I’ve done over the last few years, I’d say somewhere between 10 and 20 tracks is ideal to start with. If you only have one or two great tracks, it’s really hard to generate much interest. The chances that you have the perfect song for a specific opportunity with just one or two songs is slim. The more tracks you have and the more diverse your tracks are, the greater the odds are that something will get placed. Also, if you present two or three tracks to a library or supervisor, and they love them, usually they’ll want to hear more. There’s a considerable amount of paperwork and time involved with signing a new artist, so most places, although not all, prefer artists that have an album’s worth of material at least. There are exceptions though, and in fact, I got started in licensing with literally one song that I signed to my first publisher and built my catalog from there. Either way though, you should work towards building a size-able catalog in order to license more tracks in more places. Instrumental & Vocal Versions – At a minimum you should have both vocal (for vocal tracks) and instrumental versions of all your tracks ready to go when you start pitching your music. These two versions you will almost always be asked for. Often times, depending on the company, you’ll also be asked for alternate mixes as well, such as a “vocal down” version, a version with just bass and drums, and different length mixes, such as 30 seconds, 60 seconds and so on. It really varies a lot from company to company, so I tend to approach this on a case-by-case basis. But again, at the very least, you should always have a vocal and instrumental version of all your tracks ready to go. You can create alternate mixes and edits when they’re requested. Wav And MP3 Files – It’s a good idea to always have both mp3 and wav files of your tracks on the ready. Often times companies will have you initially submit an mp3 version for them to check out. Then, if they like your tracks, they’ll have you send them a higher quality wav file once you move forward. It’s best to have both formats ready to go at the outset so you don’t have to worry about doing this later. Register Your Titles – Be sure to register your tracks with your PRO prior to pitching them. In order to get paid performance royalties from your PRO, your tracks need to be registered. It’s best to do this before you start shopping them around and submitting to different companies, to make sure nothing falls through the cracks. One word of caution is that keep in mind some companies will register titles on your behalf when you work with them. If they are not changing the title and they register a duplicate title, that you’ve already registered, it will show up as a duplicate entry in your PRO’s database. This creates confusion since there are now two duplicate entries with different information. So, be sure whenever you’re signing with a new library or publisher, to ask them how they handle title registration in order to avoid duplicate title registrations. Copyright Your tracks – Although not technically a pre-requisite for licensing your tracks, it’s a good idea to first “copyright” your tracks prior to putting them out into the world. By default, you own the “copyright” to your tracks the moment you compose them. Copyright literally means the write to copy or reproduce. If you wrote a song or composition, you automatically have that right, it’s your music after all, but it’s a good idea to “copyright” them by registering with the Library Of Congress, or whatever the equivalent is in your country, if you live outside the U.S. That way, if you’re ever in a situation where someone tries to steal your music, or you need to prove that a song you wrote is yours, you’ll have legal proof that you own the copyright. More info: https://www.copyright.gov/registration/ Do you have a publisher? If you sign your tracks to a publisher, then you don’t need to worry about this step. But, if you’re going the music library route, it’s important to know that not all libraries take your publishing. Some libraries only take a percentage of your sync fee, or a percentage of your publishing in addition to the sync fee. If you work with libraries that don’t take all of your publishing, it’s best to have a publishing company set up so that you can collect the publishing share of your performance royalty, in addition to you writer royalty. Anyone can set up a publishing entity, but it works a little differently depending on which PRO you belong to. Check with your PRO for details on how to establish yourself as a publisher, in addition to a writer member, if you plan to license your tracks through companies that don’t take publishing. This way you’ll be sure to get all the royalties owed to you when your songs are used. Here’s info on how to join as a publisher with ASCAP and BMI: ASCAP - https://ome.ascap.com/ BMI - https://www.bmi.com/creators Music Submission Spreadsheet – This isn’t a pre-requisite per se, but it’s a good idea to have some sort of a spreadsheet that you can use to keep track of the submissions you make and to document which songs are accepted by different libraries and publishers. If you have a lot of tracks and you’re pitching and signing them with a lot of different places, it can get confusing fast. You need to organize which songs are where and whether they’re signed exclusively or non-exclusively and so on. Having a spread-sheet you use to document everything will help you stay organized. |
AuthorAaron Davison is a Berklee College of Music Alumnus and songwriter who has been licensing his music in tv and films since 2002. Archives
October 2024
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