Delivery Requirements That Are Vague Or Impossible - Traps & Scams Every Musician Must Avoid

Someone asked you to deliver the masters and you replied with a nervous laugh and a question you should not have asked out loud. Welcome to the modern music industry. You will get asked for weird file formats, impossible deadlines, and metadata riddles that look like they were cooked up by a robot that hates artists. This guide is your blunt, hilarious, and brutally practical field manual for spotting traps, avoiding scams, and turning crazy requests into clean deals that actually pay you.

Everything here is written for millennial and Gen Z artists who are busy making art and who do not have time to read legal textbooks. We explain every term and acronym so you do not sound like you swallowed a tech manual. We include real life scenarios you can relate to. And we give negotiation scripts you can paste into an email and not sound like a scared owl.

Why Delivery Requirements Matter More Than You Think

When a distributor, label, sync agent, playlist curator, or brand asks for delivery items they are not just asking for files. They are defining how your song will be encoded, credited, monetized, and collected. A bad delivery request can cost you royalties, block your song from being monetized properly, or hand away rights without you realizing it.

Here is a simple example. You hand over a folder full of WAV files and a sloppy spreadsheet of credits. A streaming service ingests the files. A metadata field is empty. Your producer does not get credited. That producer then is in no position to collect their share. You might never see that split show up in your statements. The mistake could have been fixed at delivery.

Common Delivery Items You Will Be Asked For

Knowing the vocabulary removes half the stress. Here are items you will see on most delivery checklists with plain language explanations.

• Master files WAV files of the final mix. Usually 16 bit or 24 bit PCM WAV. Bit depth tells how much detail is stored. Higher bit depth can preserve quality during processing.
• Stems Submixes of elements like drums, bass, guitars, vocals. Useful for remixes and sync edits. Stems reduce the need to share the whole session.
• Native sessions Project files from DAWs like Logic Pro, Ableton Live, or Pro Tools. These contain everything including plugins. Labels often ask for these only for big budgets or complicated productions.
• DDP image Disc Description Protocol file. Used for physical CD pressing. It stores track start times and gap info.
• Artwork Usually JPEG or TIFF with required pixel dimensions and color profile. Print companies want CMYK color profile while digital stores want RGB.
• Metadata Track titles, writer credits, composer splits, release date info, label name, UPC and ISRC codes. UPC stands for Universal Product Code. ISRC stands for International Standard Recording Code. Both are identifiers that help stores and rights organizations track and pay you.
• Split sheet A document that shows who owns how much of the song composition. It is basic math that protects payouts.
• Licenses and clearances Proof that any samples, cover versions, and third party content are cleared.
• Audio loudness targets A target LUFS number for streaming. LUFS stands for Loudness Units relative to Full Scale. Different platforms have different targets.

Why Vague Or Impossible Requests Happen

Sometimes the request is honest. The person making it is lazy, overworked, or uses a generic checklist. Sometimes the request is malicious. It could be an attempt to grab rights or make you pay for fixes you should not be paying for. Most of the time the request is a mix of dumb industry expectations and poor communication.

Here are the most common motives to watch for.

• Operational laziness The requester does not want to do basic checks and wants you to do all the work so they can outsource risk to you.
• Revenue maximization If metadata is wrong the wrong party gets paid. Some entities know how to exploit mistakes to their advantage.
• Control and ownership traps A vague delivery list can be followed by contract language that claims ownership transfers or exclusive licenses. You give files and they ask for you to sign away rights after the fact.
• Upfront fees and fixer fees You are charged for services like conversion, artwork fixes, or metadata cleanup. Once they have your files the fees can be inflated.

Red Flags That Signal A Trap Or Scam

Learn these like the chorus of your best song. If you see any of these, slow down, ask questions, and get things in writing.

Vague acceptance criteria

Example request. Send us the masters and make sure they meet our technical specs. No specs provided. No timeline for approval. No definition of acceptance.

Why that is bad. You could deliver files in good faith and still be billed or rejected later. Who pays for the conversion or remake then either you or someone else is stuck covering costs without clarity.

Requests for native sessions without proper safeguards

Native sessions are gold. They reveal plugin chains and processing choices. If someone asks for these without clear confidentiality and compensation it could mean they want to repurpose your work or resell stems.

Ambiguous ownership language

Example phrasing. Deliverables become the property of the label upon delivery. No further definition. That is alarm bells. Property could mean exclusive ownership of masters, publishing, or other rights.

Demand for impossible technical specs

Example ask. Deliver 32 bit float WAV at 192000 Hz, no normalization, and stem separation by plugin automation. That might be technically unnecessary or impossible depending on how the song was produced.

Last minute deadlines that require you to pay for fixes

Example scenario. You are told you have one day to deliver print ready artwork and a DDP. If you cannot, they will charge you a conversion fee. That is a classic pinch and charge.

Upfront fees with vague deliverable acceptance

If someone asks for money to pitch your song or to place it on playlists and the acceptance terms are fuzzy you could be paying to be ignored. Legitimate services provide clear reporting and proof of placement.

Real Life Scenarios You Will Recognize

The Brand Deal From A Nice Person

You get an email from a marketing manager at a clothing company. They want a song for a campaign. They ask for masters, instrumental stems, and an exclusive license for the campaign term. The contract that follows says exclusive worldwide rights in perpetuity for the masters. You read the clause late and panic.

What to do. Ask for a term. For example a license for two years with defined usages and territories. Ask that exclusivity be limited to the campaign and to specified media. If they insist on perpetual rights you can ask for additional compensation and a reversion clause. A reversion clause returns rights to you after the term ends.

The Label That Needs Everything Yesterday

You sign a label services agreement to release a single. The label sends a delivery checklist that requires a DDP, photographs in CMYK for print, 32 bit WAV masters, splits, cover art in a weird proprietary size, and a lyric sheet in a format you have never seen. They want it in 48 hours.

What to do. Confirm which items are actually required on day one. Prioritize the digital stores and streaming metadata first. Many physical item requests can wait until after the digital release. Negotiate a realistic timeline. If they refuse ask for a breakdown of who pays for preparation. Do not be bullied into paying for their rushed workflow.

The Curator Who Promises Placements For A Fee

A service promises playlist placements and asks for a large sum for expedited pitching. They will take your masters and ask for a non refundable payment. They also want exclusive pitching rights for the track for three months.

What to do. Never sign exclusivity for playlist pitching unless you have audited proof of past placements. Ask for performance based fees. Ask for a clause that allows you to cancel if there are no placements by a specific date. Do not hand over exclusive rights for a single placement promise.

Technical Specs That Often Cause Problems

Platform and vendor specs vary. Many of the impossible requests are born of ignorance. Here are technical items that cause fights along with what is reasonable to expect.

File formats and bit depth

MOST stores accept 16 bit or 24 bit PCM WAV at standard sample rates 44100 or 48000 Hz. High sample rates like 96000 or 192000 Hz are sometimes requested by film houses. Those rates can be useful for heavy pitch processing but they are not a magic quality upgrade for streaming. 24 bit 48 kHz is a safe default for most professional deliveries.

Pro tip. If a client asks for 32 bit float WAV ask why. Most DAWs export 32 bit float for internal processing. When you render to 32 bit float you may get larger files and no real audible benefit for most use cases. You can offer stems in 24 bit if they are unclear about 32 bit.

Normalized audio and true peak

Platforms sometimes request a loudness target expressed in LUFS and sometimes a true peak ceiling measured in dBTP. For example a service might ask for -14 LUFS integrated and a true peak no higher than -1 dBTP. That is reasonable for streaming. If they ask for a strange target like -6 LUFS that is excessive. Ask for the reason. If they want radio ready masters for broadcast you can deliver a separate master for that purpose.

Stem definitions

A stem is only as useful as it is clearly defined. Requesting stems without a naming convention or track list will create chaos. Ask for a specification that lists each stem and what is inside it. Example. Stem 1 Drums contains Kick, Snare, Overheads, Room. Stem 2 Bass contains Electric Bass DI and Processed Bass Bus. Agree on phase alignment and start times. Stems need to be exported from the same session and start on identical timecode so they line up on import.

Artwork requirements

Digital stores usually ask for square artwork with minimum pixel dimensions like 3000 by 3000 pixels and RGB color profile. Print providers want CMYK and bleed margins. If someone asks for print ready files for physical products ask for exact specs and whether they will accept RGB or need CMYK. Do not guess.

How To Respond When Requirements Are Vague Or Impossible

The key is to be calm, specific, and to provide options. Below is a four step process and email templates you can reuse.

Step 1 Confirm what they actually need now

Ask for which deliverables are mandatory for the initial release and which are optional for later. Often a client will accept a staged delivery. This gives you breathing room and prevents rushed mistakes.

Step 2 Ask clarifying technical questions

If the spec is vague ask for sample files or a template. If they cannot provide one ask these specific questions.

• Which sample rate do you want? 44100 Hz 48000 Hz or 96000 Hz.
• Bit depth preference 16 or 24 bit.
• Exact LUFS target and true peak ceiling if loudness is relevant.
• Stem format naming convention and whether you want full length stems or trimmed stems.
• Artwork color profile RGB or CMYK and required pixel dimensions.
• Does delivery of native session files require a confidentiality agreement or additional compensation?

Step 3 Offer a few practical delivery options

Make it easy for them to choose. You do not need to be the engineer for every party. Offer a standard delivery option and an upgrade option with extra fees for rush or special formats.

Example options.

• Standard digital release pack. 24 bit 48 kHz WAV masters plus JPEG artwork RGB 3000 by 3000 pixels with embedded metadata. Delivery within seven business days.
• Deluxe pack. Includes stems 24 bit 48 kHz, instrumental and instrumental stems, ISRC assigned if needed, split sheet and lyric sheet. Delivery within ten business days at additional fee.
• Physical prep. DDP image and CMYK artwork for print ready pressing. Delivery within fifteen business days for a separate fee.

Step 4 Require written acceptance criteria

Get a simple acceptance checklist in writing. This protects you from creeping change requests and surprise charges. Example criteria might be

• Acceptable file formats and bit depth
• LUFS target range and true peak ceiling
• Accepted naming conventions
• Items that require additional fees
• Timeline for acceptance and for requests for corrections

Email Templates You Can Copy And Paste

Paste these into your email client and edit the blanks. They are written to sound confident and not needy.

Template 1 Asking For Clarification

Hi Name,

Thanks for the delivery checklist. I am ready to send the masters and artwork. To make sure I deliver exactly what you need please confirm a couple details.

• Preferred sample rate and bit depth. My default is 24 bit 48000 Hz unless you prefer something else.
• Loudness target and true peak ceiling if you require a master for streaming. My standard is around minus 14 LUFS integrated with a true peak no higher than minus 1 dBTP.
• Stem naming convention and whether you want full session length stems aligned to time zero.
• Artwork color profile. I can supply RGB 3000 by 3000 pixels or CMYK print ready if you provide exact specs.

If you can reply with those items I will send a delivery within our agreed timeline. If you prefer I can send a standard digital pack now and add the other items later for an additional fee. Let me know which approach you want.

Best,

Your Name

Template 2 Pushing Back On Native Session Requests

Hi Name,

I can provide stems and a high resolution master now. Native session files contain plugin settings and presets that I prefer to keep private unless we agree to compensation and a confidentiality agreement. If you need native sessions we can add a session delivery fee and sign an NDA. Otherwise I will deliver 24 bit stems with phase alignment and a mix reference for your engineers.

Which option works?

Thanks,

Your Name

Contract Clauses To Insist On

Contracts are where the scary stuff is hidden. These clauses protect you from losing your masters or your future revenue.

Limited license or defined term

If you are granting a license make it for a defined term and for defined uses. For example grant a license for two years for worldwide campaign use in specified media. Do not give away perpetual exclusive master rights unless you are being paid handsomely and you understand the implications.

Reversion clause

Make sure rights revert to you automatically after the term unless a new written agreement is signed.

Clear payment and recoupment language

If the contract includes recoupable costs define exactly what is recoupable and provide an accounting schedule. Do not allow vague wallet draining clauses that say you will pay for anything related to the release.

Acceptance procedure

Insist on a clause that gives you a defined acceptance period. For example the client has ten business days to request reasonable fixes. After that the deliverables are accepted. This prevents indefinite rejection and repair demands.

Confidentiality and use of native sessions

If native sessions are required make sure an NDA or confidentiality clause is included. The NDA should prevent the client from reusing stems in other works without permission and should restrict sharing of plugin presets and bespoke processing chains.

How To Protect Metadata And Royalties

Bad metadata equals lost money. Getting metadata right at delivery prevents downstream confusion. Here is an easy checklist and a few acronyms you should know.

Metadata checklist

• Correct track titles exactly as you want them to appear
• Artists listed consistently with featured credits if any
• Composer and writer credits with split percentages and contact emails
• UPCs and ISRCs assigned and documented
• Label name and catalog number
• Release date and territory information
• Explicit or clean flags for content

Who pays and collects what

PRO stands for Performance Rights Organization. Examples include BMI Broadcast Music Incorporated and ASCAP American Society of Composers Authors and Publishers and SESAC. These organizations collect performance royalties for sound recordings performed publicly and pay writers and publishers. SoundExchange collects digital performance royalties for sound recordings for non interactive digital radio in the United States. Mechanical royalties are generated when a composition is reproduced. In the US mechanical royalties are collected by the Mechanical Licensing Collective or via agencies such as Harry Fox Agency in some cases. If you are outside the US your local collection society will handle mechanicals.

Register your song with your PRO and with SoundExchange if applicable before release. Register the composition splits so the correct people get paid. Provide accurate metadata to your distributor so they can pass the correct info to the stores and to collection societies.

Scams To Watch For

Some scams are bold. Others are sneaky and slow. Here are ones that show up in the wild.

Pay to pitch with exclusivity

Service promises to pitch your song for a fee. Then they take exclusive pitching rights leaving you unable to approach other curators. If they fail to place the song you have no recourse. Insist on non exclusive agreements or on performance based compensation.

Fake sync offers with upfront licensing fees

A so called publisher or agency promises a sync placement in a film or commercial if you pay an upfront fee to clear the deal. Legit publishers do not ask artists to pay to be placed. If money is required for legal work or administration ask for detailed invoices and references.

Ownership transfer disguised as delivery

After you deliver the masters a contract appears that retroactively assigns you ownership in exchange for a credit line or a one time payment. Always sign contracts before delivery or secure your files with watermarking and a dated proof of delivery that does not include master ownership transfer.

Metadata theft

Some parties will ingest your tracks with wrong metadata so that a different party gets credit. This can be intentional or a sloppy ingestion. Keep copies of the original metadata and insist on a delivery receipt that shows how the metadata was ingested.

Practical Tools And Services That Help

Stop trying to remember a million little rules. Use these tools to standardize your delivery process.

• Distribution services DistroKid, CD Baby, TuneCore. These services distribute to stores and often provide UPC and basic metadata services. Each has different terms so read them carefully. DistroKid provides easy artist focused options. CD Baby has additional services like sync licensing pitches. TuneCore offers publishing administration in some packages.
• Metadata management Use a spreadsheet template for splits and credits that you reuse for every release. Store one master copy and do not rely on fragmented emails.
• File transfer and proof Use platforms like WeTransfer Pro or Google Drive and keep detailed logs of what you uploaded and when. For high stakes deliveries consider a professional delivery service that offers receipts and checksums.
• Legal templates Get a reputable music lawyer to create a short NDA and a basic delivery rider you can attach to deals. You will use the rider often and it will save you negotiation time.

Checklist You Can Use Before You Hit Send

• Do you have a written acceptance criteria from the requester?
• Is the file format correct and documented?
• Are stems aligned to time zero and named clearly?
• Is artwork the correct color profile and resolution?
• Are credits complete and splits documented?
• Are UPC and ISRC codes assigned and recorded?
• Did you register with your PRO and SoundExchange if applicable?
• Do you have a backup of everything you are sending?
• Is there a timeline for fixes and an acceptance deadline?
• Do you have a written agreement or rider covering native session delivery?

Negotiation Phrases That Keep You In Control

These are short and plain language so you do not sound like you swallowed a lawyer. Paste them into your replies and breathe.

• Please confirm which deliverables are mandatory for the initial release and which can be provided later.
• I can deliver a standard digital pack within seven business days or a full stems and DDP pack within fifteen business days for the additional fee shown below.
• I will not provide native session files without a signed confidentiality agreement and a session delivery fee.
• We require a ten business day acceptance period after delivery. After that time the deliverables will be deemed accepted unless reasonable issues are reported.
• Exclusive rights for masters must be defined by term territory and medium. I will not agree to perpetual worldwide exclusivity.

When To Call A Lawyer

Not every fight needs a lawyer. But a good lawyer saves you money when the stakes are high. Consider counsel when any of these are true.

• The client asks for assignment of masters or publishing rights.
• The proposed term of exclusivity is long and worldwide.
• The fees offered are high but the rights requested are broad.
• You are asked to indemnify the other party for broad claims that you cannot control.
• You are asked to accept recoupable costs without a detailed accounting schedule.

Final Practical Tips That Save Drama

• Document everything. Save emails screenshots and receipts. Dates matter more than pride.
• If a client is rude or refuses to clarify walk away. Creativity is infectious. You do not need rude partners.
• Standardize your delivery pack. When you have a repeatable process you are less likely to be bullied.
• Charge for rush work. If someone needs it fast charge a fair premium and state that fixes may be extra.
• Use watermarked mp3 previews when sharing early versions in insecure contexts.

FAQ

What do I do if a label asks for my native session files

Native sessions contain your entire mix and plugin chains. Ask why they need them. Offer stems and a high quality master as an alternative. If they insist request a confidentiality agreement and compensation. Do not hand over sessions without protections. If the client is reputable they will understand and sign an agreement that limits reuse.

Who assigns ISRC codes and why do they matter

ISRC stands for International Standard Recording Code. It is a unique identifier for sound recordings that helps platforms and rights organizations track usage and pay royalties. Some distributors will assign ISRC codes for you. You can also purchase or assign them if you have your own label account. Record the ISRC for each track and store it with your metadata so submissions stay consistent.

Do I have to meet every technical spec a client demands

Not automatically. Ask why the spec is required. Offer to provide a standard professional delivery and a premium delivery for an additional fee. If a spec is truly necessary for a project like film deliverables you can negotiate compensation for the added work. Always get acceptance criteria in writing so you do not end up paying to meet vague expectations.

What does a reversion clause do

A reversion clause returns rights to you after a specified term or event. For example you might grant a license for two years for campaign use. After two years rights revert to you automatically unless a new agreement is signed. That protects your ability to exploit the masters in the future.

Can I watermark masters to protect them

Yes you can. Watermarking creates a subtle audible or inaudible marker that links the file back to you. Use watermarked mp3s for insecure sharing. For final deliveries to a trusted partner provide clean masters only after contracts are signed. Watermarking is not a legal shield but it helps trace leaks.

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