Almost every songwriter I know is fascinated by sync licensing, and most want to get into it. So today I want to share some basics about sync licensing.

Reading time: 5 minutes 👓

Sync licensing basics

Sync licensing an revenue stream that many independent artists overlook. The term refers to placement of your music placed in visual media like TV shows, films, commercials, and video games.

Securing sync placements may seem like a long shot, but it can be a game-changer for your music career. Not only can you earn a nice upfront sync fee, but sync can also open the door to additional future royalties if the placement is successful. Plus, sync can be a massive opportunity for exposure and discovery through apps like Shazam. Remember the time you heard a song on Netflix and wanted to know who the artist was? Shazam!

Here are some tips for maximizing your chances of landing sync deals:

1. Write universal, emotion-evoking lyrics. Music supervisors often favor songs with broader themes that can resonate with diverse audiences and always favor true-authenticity. However, overly specific or romantic lyrics may limit placement opportunities.
2. Clear your splits and samples. Create a split sheet specifying songwriting percentages sorted out beforehand. And if you use samples, make sure they are cleared for use.
3. Prioritize metadata and discoverability. Music supervisors rely heavily on metadata like artist names and track titles. Metadata is used to find you–literally. Ensure yours are complete and up-to-date across platforms.
4. This point is arguably the most important. Leverage relationships and pitch strategically. Sync licensing is heavily reliant on networking. Look for personal connections to music supervisors and libraries. Don’t blindly submit everywhere.
5. Consider publishing covers. Major brands often turn to quality cover versions as a cost-effective alternative to licensing popular originals. A memorable cover could be your big break.

The sync licensing world is competitive, but the potential for recurring income and exposure to a broader audience can make it well worth pursuing. I’ll share more sync tips and strategies in the coming weeks, so stay tuned!

Former podcast guests weigh-in on sync licensing

I asked former guests of the podcast the following question about sync.

What’s the single most important thing that independent artists should know about getting into sync licensing?

Here are a few responses I received.

"Create really good systems for your catalog, so songs of specific genres, styles, tempos, etc. can be easily found. Start doing that as early in the process as possible and make it a habit. Also, always have two versions of your songs if they include vocals. Have a version with vocals and an instrumental version without vocals."
– Drew Ryder Smith​

“There are so many pitfalls that artists who are just getting started fall into. I would say it’s one of the two following. 1) Make sure that you learn as much as you can about rights ownership. If you have co-writers, figure out the splits (who owns what) and get it in writing. Even if you don’t own 100% of the song, get control of both sides (the composition and master) and get it in writing. Being able to rightfully be “OneStop” makes all the difference. 2) More than any arena in music right now, the sync world has the most shysters. There are too many shady people trying to make money off of artists who don’t know better. Be very careful.”
– Bradford Loomis​

“One thing is a little tricky. Generally, I keep saying the same thing: Sync is very crowded and it takes a long long time to build relevant contacts - which may take you away from what your music needs. A strong partner is key.”
– Lars Deutch​

“I guess logistically the thing most folks don’t know or have together is this: Have written proof that whatever you pitch to synch is 100% cleared before you submit it. Meaning that publishing, writers, and master ownership are all pre-approved. The number one reason things don’t go through is the trepidation on the part of the licensor that an unknown party will appear after the fact looking for “their cut.” But also, write better music and don’t be the scumbag that writes sound-alike material. It lessens the value of every composition in existence.”
– Jace Everett​

Reader question

Liner Notes reader William Ashley submitted the following question based on my last email, which pointed out that BMI has moved from a non-profit to a for-profit model.

“Could you provide some insight into how a not-for-profit vs for-profit organization operates, and what does this mean in its role as a PRO?”

This is a big question. In my last email, I included an article where ASCAP shared strong opinions about BMI’s move to a for-profit model. Here’s the link to that article–it’s worth reading.

​ASCAP Rips BMI Over For-Profit Model, Reported Sales Talks: ‘Private Equity Never Wrote An Iconic Love Song’​

When considering membership with a PRO, it is worth noting if it is a non-profit or a for-profit entity. In practice, and somewhat in theory, a non-profit PRO’s primary goal is to collect and distribute royalties to its members rather than generate profits for owners or shareholders. Non-profits are governed by a board of directors elected by and from its membership, which helps ensure that decisions are made in the best interests of its songwriter and publisher members. Furthermore, a non-profit is required to disclose certain financial and operational information, which promotes transparency.

For-profit organizations are privately owned companies, the primary goal of which is to generate profits for its owners or shareholders, in addition to collecting and distributing royalties to its members. They are governed by a board of directors appointed by its owners, which may or may not align with the interests of its songwriter and publisher members. Finally, private for-profit companies are not required to disclose as many financial and operational details as non-profit organizations, so less transparency.

ASCAP and BMI are both required to operate in fair and non-discriminatory manners, subject to consent decrees with the US Department of Justice. But musicians should also consider factors such as reputation, efficiency of royalty collection and distribution, and the specific services and resources offered to members. Some musicians may prefer the non-profit structure of ASCAP, while others may be drawn to BMI. Remember that both BMI and ASCAP serve a role in protecting the rights of songwriters and publishers.

For what it’s worth, I’m currently with BMI with no plans to change. Would I have chosen ASCAP if BMI was a for-profit organization when I joined? I honestly don’t know. Maybe…?

Further reading

​Music Licensing 101: How to Sync Your Music​

​Sync Fee & Sync Royalties Explained - Where the Money Comes From​

​What Changes Are Coming To Music Royalties In 2023, And How Do They Work?​

​Sync Licensing: The Lowdown for Independent Artists​

​A Guide to Key Pay Sources in Mexico: ANDI, EJE, SACM​

​Music Split Sheet Template & Guide​

Cool tools for musicians

​Moises.app​

I only recently discovered Moises, which allows you to play your music in any key, at any speed. The feature of most interest to me is the ability to remove vocals and instruments in any song, which is great for working on vocal and drum covers. It’s available for iPhone and Android, but I prefer to use the browser version.

​ConvertKit email for musicians​

I’ve been using ConvertKit for years. It’s as easy to use as any email marketing platform on the market and they have great support. Recently ConvertKit launched a feature they call the Creator Network, which has helped me grow my email list substantially. Part of the Creator Network is a regular online meetup where you can meet other creators and brainstorm about email and product marketing ideas.

​Snark Air Guitar Tuner

I love my guitar tuner, but this one was recently recommended by several musicians I’m connected to on Facebook. The display looks amazing and it’s rechargeable!

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Peace, love and more cowbell,
Robonzo
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