What Is The Best Way To Submit Music For TV & Film?

August 28, 2021 gbn

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Sync licensing is the best way to get your music featured in a TV show, movie, or even a video, but not the only way. It’s highly worth checking into sync licensing if you want to get your music featured in a TV show, movie, or even a video game. It can not only help your music reach new fans, but it can also help you make a lot of money.

Let me quickly clarify WHAT music sync licensing is and WHY you should strongly consider licensing your music for synchronization before we get into the HOW.

Feel free to skip ahead if you already know why you want to license your music.

With sync licensing, you can get your music on TV and in movies.

What is music sync licensing, and how does it work?
Putting one of your songs in a YouTube video, a TV show, a film, or a video game is what music sync licensing is all about. In exchange, you’ll be paid a synchronization fee up front, as well as royalties based on where and how often the tune is played in public, such as on television.

There are additional ways to license your music, such as licensing a composition to a performing artist, but for the purposes of this article, we’ll stick to the basics. We’ll concentrate on film and television music licensing.

What are the benefits of using a sync license for your music?

1- It has the potential to be more financially lucrative than any other source of income for indie performers.

2- It can be done from the convenience of your own home.

3- You may work on it on your own time, so it won’t interfere with your day job or family life.

Money no longer has to be the be-all and end-all….

Having a song included on a major TV show can boost your streaming platform play count and serve as a terrific advertising tool.

Furthermore, I’ve mentioned it before, but it bears repeating: sync licensing your music allows you to work from home, at your own pace, and without a large initial financial investment.

Options for synchronizing deals

So now that I’ve shown why it’s a good idea to spend some time licensing your music, I’ll outline the three primary options open to you.

1- Find a publisher who will find, negotiate, and sign licensing agreements on your behalf.

2- Submit your catalog to music libraries and profit from the traffic generated by these platforms.

3- Create your own relationships and license your music directly to customers, bypassing publishers and libraries.

Each of these three possibilities has advantages and disadvantages, just like everything else.

Option 1: Working with a publisher (Kes Network)

Points to consider:

The publisher handles all of the tedious administrative tasks and capitalizes on their connections.

Points to avoid:

Exclusive publishing deals (those that can assist you build your music licensing career) are occasionally available. That implies you’re stuck if the deal doesn’t work out (which is a distinct possibility).

What can be done to reduce the risks?

Make sure you don’t sign a contract that gives you lifetime exclusivity. Maintain a suitable agreement period.

Negotiate a payment plan that works for you. That is, it should be large enough that you are not in danger if the publisher does not offer you a single deal.

Option 2: Submitting your music to music libraries

Good points:

Once you’ve set up your tracks in music libraries (you can upload your repertoire to several libraries under non-exclusive partnerships), the money you make from these platforms is passive. There is no additional work to be done.

Bad points:

There are so many music libraries of various quality that it’s tough to know where to begin, and it’s easy to become overwhelmed with information and analysis paralysis, leading to inaction.

Where do you begin?
Slowly but steadily, take action. You may, for example, strive to submit three recordings to three libraries each week. You don’t have to start big or have a massive library of songs ready to go. It’s best to take things slowly and steadily.

What can you do to avoid making mistakes?

“Mistakes” are unavoidable. Some libraries will close three months after you’ve been admitted, so you’ll be wasting your time. That’s OK. It’s all part of the fun. Just make sure you stick to non-exclusive libraries or exclusive bargains that are only valid for a short period of time (say 1 year). This will ensure that your career does not come to a halt due to so-called “mistakes.”

What criteria do you use to determine which libraries to distribute music to?

You don’t have any! A library that works well for me might not be the best choice for you. When you initially start out, you’ll have to spray and pray to some extent.

Where do you begin?

Maintain your concentration. If you write in a variety of genres, start with one and work your way up.

Examine the market. Go to YouTube and look up TV shows, video games, films, fashion shows, retail outlets, and any other venue where music is played in public. Determine where your musical genre is already being used.

Begin small. Yes, you are welcome to apply for an internship with Hans Zimmer; I would never dissuade you from doing so! However, expect a lot of rejection. Starting small allows you to experiment and make mistakes without having to worry about the consequences.

Option 3: Develop relationships on your own.

You have complete control and may choose who you wish to work with.

You also get to retain all of the money (the industry standard is a 50/50 split with libraries and publishers, which isn’t insignificant).

Furthermore, when you succeed, it’s extremely satisfying, and the relationships you form as a result tend to be stronger and more rewarding (both creatively and financially).

Bad points: It’s a lot of work, it takes a long time, and you’ll fail a lot.

You’re probably used to it as an indie musician, but it’s still something to think about. Maybe you’re not at a position where you can handle a lot of rejection right now.

Where do you begin?

Maintain your concentration. If you write in a variety of genres, start with one and work your way up.

Almost every time, slow and steady triumphs over rapid and erratic. If you want to establish long-term partnerships in the sector, you must demonstrate that you are trustworthy. Music supervisors and filmmakers need to be able to rely on you and have faith in your ability to deliver. You won’t burn out if you take it slowly and steadily.

What is the greatest option for someone who is just getting started?

A mix of options 2 and 3 is appropriate for starting started with music licensing.

In a moment, I’ll explain why, but first, let me explain why I wouldn’t focus on option 1 and sign a publishing deal right away.

First and foremost, you’d have to spend just as much time studying publishers as you would exploring music libraries, so you might as well keep control of your library!

Second, publishers are unlikely to sign you until you’ve demonstrated your financial viability. Publishers who want to sign you before you’ve achieved any success aren’t usually a good indicator…. Whatever their pitch, it’s more than likely that they’re taking a chance on your music in order to bolster their roster and appear more impressive and professional. That doesn’t rule out the possibility of them working for you. It simply implies that there’s no assurance that they’ll make you any money, and giving them exclusive rights to your inventory is generally not a good idea.

It’s a different story if you’re a more experienced and seasoned musician who has seen it all in the music industry! You can probably smell a shady deal coming from a mile away. If you locate a publisher who appears to be a good fit for you in such instance, it could be a terrific deal that saves you a lot of time and effort.

Let’s return to alternatives 2 and 3 with that in mind….

This is why I advise any indie musicians just starting out in the music licensing business to approach non-exclusive music libraries and begin cultivating their own relationships.

To begin, researching and submitting to music libraries is a great way to learn about the world of music licensing, including what types of music are used on TV and film, what a license agreement looks like, how you get paid, and everything else you’ll need to know if you want to start making decent money.

Second, going direct-to-customer is like getting a real-life MBA for free! Researching and speaking with potential clients provides you with fast feedback, both positive and negative. If no one wants to license your music, it could signify one of three things: the production quality is low (poor quality product), you’re pitching to the wrong person (wrong market), or you’re pitching incorrectly (bad communication).

Third, you retain ownership of your catalog and career as long as you sign non-exclusive partnerships. You can keep presenting your music to different individuals and gradually figure out who you prefer to work with and what kinds of projects you enjoy working on. That’s crucial since you have no idea where you’re headed when you’re initially starting off. You want the freedom to make errors and shape your career on your own terms.

Some people prefer the anonymity of music libraries, which make it simple to post your songs and keep out of the industry’s whirlwind. Others will like the creative and entrepreneurial spirit that comes with collaborating with independent filmmakers and content providers.

Both are excellent options for monetizing your music.

KES Music Network, LLC