Sync Licensing: From Metadata to Briefs Walkthrough

Sync licensing is where your music either gets paid like a boss or sits in a playlist that nobody ever listens to. If you want placements in film, TV, ads, trailers, games, or viral brand content you need to know how to present your music so it is useful, findable, and legally clearable. This guide walks you through everything from metadata clean up to writing a pitch that music supervisors actually open. We explain all acronyms and give real life, painfully relatable scenarios so you can act fast and avoid rookie mistakes.

If you do this properly your song can earn three kinds of money from one placement. Those checks will come from sync fees, master use fees, and performance royalties that hit your performing rights organization. Later we will cover how to claim all of it without banging your head against a keyboard.

What is sync licensing and why you should care

Sync licensing means granting permission to use your music paired with visual media. That could be a commercial, a TV scene, a movie montage, a YouTube video, or a video game sequence. Sync stands for synchronization because the music is synchronized to picture.

Three big reasons musicians care

• Money. Sync fees can be small or life changing depending on the project. Commercials and trailers pay well. Indie films and student projects pay little or nothing but can still be useful for exposure.
• Audiences. A placement on a popular show can spike streams overnight and grow your fanbase quickly.
• Licensing leverage. A good placement builds relationships with supervisors and music libraries that book repeat business.

Real life scenario

Imagine a TV show uses your chorus for a montage. The sync fee pays your rent this month. Then the show airs on TV and the performance royalties from the broadcast are paid into your PRO account months later. Your Spotify streams jump and an A and R person emails you. You did nothing magical. You were just prepared.

Who are the players in a sync deal

Understanding who does what removes 90 percent of the anxiety.

• Music supervisor The person who picks the music for a show or ad. Think of them as a picky chef with expensive tastes. They will request tracks that fit mood, tempo, tempo, lyrics, and budget.
• Producer or director These creatives can require specific emotional beats. Their decision matters more than streaming stats.
• Publisher Represents the composition rights. They clear the songwriter side of things and collect publishing income. If you own your publishing you are dealing with this yourself.
• Label Represents the master recording rights if you are signed. If you self release you own the master or you have an agreement with someone who does.
• Rights holder Whoever controls either master rights or publishing rights or both. A sync license must clear both sides for full permission to use a song.
• Collective management organization or performing rights organization Often abbreviated PRO. Examples are BMI, ASCAP, SESAC in the US. These organizations collect performance royalties when a show with your music airs.
• Music library or catalogue They pitch your music to supervisors in exchange for a share of fees and royalties. They can be exclusive or nonexclusive partners.

Rights explained in plain English

If you do not understand what must be cleared you will sign something that ruins your future. Here are the rights you will encounter.

• Sync right Permission to use the composition with visual media. This right belongs to the songwriter or publisher.
• Master use right Permission to use the actual recorded audio file. This belongs to the label or the owner of the master recording.
• Performance royalties Money earned when music is broadcast or streamed as part of a show. These are collected by your PRO and distributed to the songwriter and publisher depending on registration.
• Mechanical rights Rights to reproduce the composition on physical or digital media. In sync deals these are less common unless music is included with a soundtrack release.
• Buyout A payment model where the licensor sells broad rights for a flat fee. Buyouts can be tempting but they can close the door for future income if written too broadly. Buyout means the license may limit future claims to royalties depending on the wording.

How a sync deal actually happens

High level steps so your brain does not leak out your ears

1. A supervisor posts a brief or requests music based on the project needs.
2. Music librarian or indie artist pitches tracks that match the brief.
3. The supervisor picks a shortlist for temp licensing or direct negotiation.
4. Negotiation covers fee, territory, term, exclusivity, and usages.
5. Once terms are agreed both sync rights and master rights are cleared and a license is signed.
6. Music is used and cue sheets are filed to collect performance royalties.

Music briefs from the supervisor explained

A brief is a request describing what the supervisor needs. Treat it like a job post for a placement.

What a typical brief contains

• Project type like TV, film, ad, or game.
• Scene description and timing notes with exact durations where possible.
• Mood words like melancholic, upbeat, triumphant, awkward.
• Tempo or bpm if they need synchronization to a cut.
• Reference tracks so you can match tone and energy.
• Rights requested for sync and master use, territory, and term length.
• Budget or budget band where provided.
• Deal deadline and deliverable format such as a 24 bit 44.1 kHz wav and stems.

Real life scenario

A supervisor emails: We need a 30 second upbeat indie rocker for a montage. Needs a bright lead guitar, an instrumental or minimal vocals and delivered by Friday. Budget low. You have an instrumental version and stems ready. You reply with two links and metadata and you get the spot. Being fast and formatted wins.

Metadata is the oxygen for sync

If your metadata is messy your track will be invisible or unpaid. Metadata is the info embedded in or attached to the audio file. It tells supervisors who did what, who to pay, and what rights you offer.

Essential metadata fields and how to fill them

• Track title Use the final release title. No fancy characters. If it is an instrumental include the word instrumental in parentheses like Piano Suite instrumental.
• Artist name Use the name you release under. If multiple artists list them clearly with commas not symbols.
• Composer songwriter Full legal names for everyone who wrote the composition. No nicknames unless they are registered with your PRO.
• Publisher The publishing company name that administers the composition. If you are self published use your publishing company or your own name with publishing note.
• ISRC code International Standard Recording Code. This identifies the master recording. If you do not have one register through your distributor or national agency.
• ISWC code International Standard Musical Work Code. This identifies the composition. Typically assigned by a publisher or a collecting society. If you are the songwriter ask your publisher or PRO how to register.
• UPC Universal Product Code for the release if the track is released commercially. Useful for linking to sales data.
• Label The label that owns the master. If you own it list your label name or indie name.
• Duration Exact length in minutes and seconds.
• Tempo BPM value or approximate tempo range.
• Key Musical key like C major or A minor. Include capo info for guitar based tracks if relevant.
• Genre and mood tags Use clear tags like indie pop, cinematic, suspense, upbeat, melancholic. Do not use broad meaningless tags.
• Vocal type For example lead vocal male, female, choir, instrumental only.
• Explicit flag Mark yes or no. Many supervisors avoid explicit lyrics for ads.
• Stems available Yes or no and what stems exist like vocals, drums, guitars, full mix.
• Licensing contact Email and phone for sync and rights inquiries. Put a name and a role for fast replies.
• Catalog or internal ID Your library identifier or catalog number. Makes tracking easier.

Example metadata block you could paste into an email

Title: Saturday Neon (Instrumental)
Artist: Lyric Assistant Collective
Composer songwriter: Jane Doe, John Smith
Publisher: Jane Doe Publishing administered by SmallTree Music
ISRC: US-ABC-20-00001
ISWC: T-123456789-0
UPC: 123456789012
Label: Lyric Assistant Records
Duration: 0:30
Tempo: 120 bpm
Key: C major
Genre mood: indie pop, bright, energetic, montage
Vocal: instrumental
Explicit: no
Stems available: vocals drums guitars synths
Licensing contact: sync@lyricassistant.com
Catalog ID: LA-SYNC-0034

ISRC and ISWC explained in human speak

ISRC stands for International Standard Recording Code. It is like a barcode for a recording. It identifies the master recording specifically. You get one through your distributor or national ISRC agency. Without it tracking and revenue attribution becomes messy.

ISWC stands for International Standard Musical Work Code. It identifies the composition or the song itself. That code belongs to the songwriting side and lives with your publisher or performing rights organization. When you get paid performance royalties that ISWC helps link the use to the correct writers.

Registering with a PRO and why that matters

Performing rights organizations collect performance royalties when your music is broadcast or performed publicly. In the US common PROs are ASCAP, BMI, and SESAC. Elsewhere you have PRS, SOCAN, GEMA and others. Register as a writer and as a publisher where possible. Immediately register the song with your PRO as soon as it is used on a show so the performance royalties can be collected.

Real life scenario

You placed a track on a cable drama. The song was credited with only the band name and not the songwriters. Months later the show files a cue sheet with incomplete info. If you had registered the composition with your PRO and included correct metadata you would receive performance royalties. Instead you get a smaller payout that is harder to recover. Register early and check cue sheets when possible.

Cue sheets are how you get paid for broadcasts

A cue sheet is a document that lists all music used in a program with details on timing, usage, writers, publishers, duration, and value type. The broadcaster or publisher usually files it. That is how the PROs know whom to pay. Do not assume the system is perfect. Check the cue sheet and request corrections when needed.

What to expect on a cue sheet entry

• Title and version used
• Composer names and publisher names
• Duration used and how it was used like background, opening credits, or theme
• Performance type like dramatic underscore, background music, or theme song
• Ownership split percentages for writers and publishers

Deliverables and preferred file formats

Supervisors will ask for specific file formats. Being able to deliver quickly makes you look professional and increases the chance of a deal.

• High resolution wav 24 bit 48 kHz or 24 bit 44.1 kHz for audio deliverables.
• Instrumental and vocal versions if applicable.
• Stems. These are separate files for vocals, bass, drums, guitars, and maybe effects. Stems allow the show to mix the music to the scene.
• MP3 320 kbps for quick listening links. But do not supply low quality files for final uses.
• Metadata embedded in the master wav. Use software that writes ID3 or RIFF tags so the file itself carries metadata.
• Clear naming conventions like 12345_Title_Artist_30s_Vocal.wav

How to respond to a brief like someone who knows what they are doing

Speed and clarity win. Supervisors have short deadlines and long email lists. Craft a reply they read in five seconds.

Subject line template

ProjectName brief response Title Artist Duration Stems

Email body template

Hi [Supervisor Name],

Thanks for the brief. Two tracks below match the mood and tempo. Both have stems and instrumental versions.

Link 1: https colon slash slash private.link/trackA  password: blue
Metadata: Title Artist Composer Publisher ISRC ISWC Duration Tempo Key
Usage rights: sync plus master for TV US and digital 1 year nonexclusive or available for exclusive buyout
Fee: $750 sync plus negotiate master use
Stems: yes
Delivery: 24 bit wav 48 kHz and stems within 24 hours on approval
Contact: sync@youremail.com

Link 2: https colon slash slash private.link/trackB  password: red
Metadata: same format

I can also supply a 30 second edit if required within the deadline. Happy to chat briefly if you want to lock one.

Best
Your Name

Key points

• Provide private streaming links rather than attachments to keep inboxes light and secure.
• Include license terms up front like territory, term, and exclusivity. This reduces back and forth.
• Say whether instrumental or stem versions exist. Many supervisors need instrumental cues for dialogue heavy scenes.
• Offer a quick turnaround for edits. The speed can be decisive.

Pricing guidance that keeps you reasonable and paid

Pricing depends on the project type, territory, duration, exclusivity, and your experience. Numbers vary wildly. These are ballpark ranges for independent artists in the US context so you can avoid selling yourself short.

• Low budget student or indie film placement: free to $200. Consider credit and soundtrack split if early in your career.
• TV placement on cable show for background use: $500 to $5,000 depending on broadcast size and budget.
• Network TV use and featured scenes: $2,000 to $20,000. Bigger shows pay more.
• National advertising campaigns: $10,000 to $250,000. Ads can be the most lucrative but also require careful rights clearance and often buyouts for long terms and broad territories.
• Trailer placements: $25,000 to $200,000. Trailers often pay high fees because they are marketing heavy.
• Video games and trailers for games: $2,000 to $50,000 depending on scope.

How to think about splits

If you control both the master and publishing you can ask for the full sync plus the master fee. If a label or publisher is involved the splits will be negotiated. Publishers typically expect a share of the sync and publishers often take an administration fee for licensing help. Learn your contract terms with your label and publisher before negotiating.

Contracts and key clauses to watch for

When you sign a sync license look for these items. If legal language makes you sleepy this list will keep you awake and empowered.

• Term How long is the license for. One year, five years, or perpetual. Perpetual means forever. Be wary of forever unless the fee justifies it.
• Territory Where the license applies. US only, North America, worldwide. Worldwide costs more.
• Exclusivity Exclusive means no one else can license the track in that territory or usage. Nonexclusive means you can license it elsewhere. Exclusivity deserves a premium.
• Media and platforms Does the license include social media, streaming, broadcast, theatrical, online, and mobile games. Be explicit.
• Buyout clauses If they ask for unlimited usage for one fee this is effectively a buyout. Make sure the money reflects that.
• Credit and title usage How they will credit you in end credits or promotional material. Good to nail down but not always enforced.
• Indemnification Do not agree to indemnify the licensee for third party claims involving the music. That is a big red flag.
• Clearances responsibility Who clears samples or third party elements. If your track uses samples you must disclose this and negotiate clearance separately.

Sample clearance and tricky rights

If your song contains a sample of another recording you must get two clearances. One for the composition and one for the master. Failing to clear samples can kill a deal or create legal trouble.

Real life scenario

You wrote a song with a 6 second loop lifted from an old record. A big brand wants to use it in a national ad. The brand will want the master clearance and the composition clearance. If the original owner refuses clearance the placement collapses. If you did not disclose the sample early the supervisor will stop trusting you. Always flag samples in metadata and during negotiation.

Music libraries versus direct pitching

Music libraries pitch your music to supervisors and manage licensing admin. They can be a time saver but they take a cut and often ask for exclusivity or long terms. If you are beginning take both approaches. Libraries get you volume. Direct pitching builds relationships and pays better when you succeed.

Choosing a library

• Check their client list. Are they on shows you want?
• Read contract length and exclusivity clauses carefully.
• Ask about payout speed and reporting accuracy for placements.
• Prefer libraries that give you transparency around usage and cue sheets.

How to make your catalog sync ready now

A short playbook to prepare your music so you do not miss out when opportunity knocks.

1. Clean metadata on all released tracks. Use consistent artist and composer names across platforms.
2. Register every song with your PRO and add publisher details immediately.
3. Embed metadata in wav files and upload stems for every track you intend to license.
4. Create instrumental versions and short edits like 15 and 30 second versions for quick use.
5. Create a sync folder on a private server or cloud drive with passworded preview links.
6. Keep a spreadsheet of catalog IDs, codes, rights owners, and contact emails for fast reply.

Pitching strategies and outreach cadence

Pitch with taste and strategy. Random spam will not help your rep.

• Make research a habit. Know the shows, brands, and supervisors who use your style.
• Follow supervisors on social media for cues about projects and music tastes. Do not stalk them. Be observant.
• Send tailored pitches not bulk lists. Mention a recent show or a mood reference to show you listen.
• Limit follow ups to two polite notes. If no reply move on. Time is limited and email overload is real.
• Keep a short pitch template but customize the first sentence so it does not read like a bot.

What to do when you get a request for changes

Supervisors often ask for a shorter edit or a lyric change. Be flexible, charge for creative services, and log all changes in writing. If the change is simple offer a quick turnaround for a modest fee and note the change in the license terms so both parties agree on the new use.

Delivering stems and edits without chaos

Organization saves hours and preserves your credibility. Label files clearly and compress them in a single folder. Use this structure

• ProjectID_Title_Artist
• Master_24bit_48kHz.wav
• VoxStem_24bit_48kHz.wav
• DrumsStem_24bit_48kHz.wav
• GuitarStem_24bit_48kHz.wav
• Instrumental_30s_edit.wav
• Metadata.txt

Include a readme file that lists any processing that may affect stems like pitch correction or heavy mastering. Be honest about edits. Supervisors prefer transparency.

Negotiation red flags and how to avoid them

• Requests for broad perpetual worldwide exclusivity for a small fee. Ask for premium pay if they want that.
• Requests to indemnify the licensee for claims about your music. Do not accept broad indemnity language unless you get legal help.
• Requests to clear third party content you do not control without additional fee. Make it explicit who clears samples and pays fees.
• Payment terms longer than 60 days with no advance. Push for a deposit or shorter payment windows.

Tracking placements and ensuring you get paid

After a placement happens run these checks

1. Ask for a signed license agreement and an invoice for the fee. Do not assume verbal confirmation is enough.
2. Request a cue sheet and confirm writer and publisher names are correct.
3. Monitor PRO statements to confirm performance royalties are reported and paid.
4. If the placement is in an ad ask whether the ad will air in additional regions or be used online. That affects royalty streams and licensing fees.

How to price creative changes like edits and stems

Creative work beyond supplying a ready track is billable. Charge by the hour or by a flat fee. Typical rates for quick edits or clean stems range from $50 to $200 for simple jobs for indie work. For complicated stems or major re mixes charge more and itemize the work in the invoice.

Real life win example

Band in a shoebox apartment supplies a short instrumental and a vocal version with clean metadata. They respond to a sitcom brief in 48 hours. The show picks the instrumental for a 20 second transition. The sync fee is $2,000 and they receive performance royalties later. The key moment was speed, a clear left to right contact, and ready stems so the show could punch the music under dialogue. The band did not move mountains. They had their files and metadata ready.

Action plan checklist for next 7 days

1. Audit your released songs. Create a spreadsheet with catalog ID, ISRC, ISWC, PRO registration, and licensing contact.
2. Embed clean metadata in high resolution wav files and upload stems for 10 tracks you want to license.
3. Make 15 and 30 second edits for each of those tracks.
4. Write a one page sync pitch template and two short custom lines for three supervisors you researched this week.
5. Register any unregistered songs with your PRO and confirm publisher splits are in the system.

Common sync questions answered

Do I need a publisher to get sync deals

No. Many independent artists license directly and keep more income. Publishers help with wider reach and admin tasks and can take your songs into larger catalogs. If you are starting do it yourself and consider publishing deals only when they clearly add value you cannot get alone. If you accept a publishing deal know what rights you are signing away and whether you still control approvals for sync.

Should I register my songs before pitching

Yes. Registering with your PRO and assigning correct splits helps when a deal happens. Supervisors and music libraries prefer cleared and registered songs because it reduces admin friction. You can still pitch unregistered songs but be aware that registration speeds up payment later.

What if someone asks for exclusive rights but pays little

Counter offer. Ask for a limited exclusivity term or a short exclusive window like 3 months. Or ask for a higher fee. Exclusivity should cost more because you lose future opportunities during the exclusive window.

How long does it take to get performance royalties

Performance royalty payment timing varies. After a broadcast the cue sheet is filed and PRO processing can take several months. International royalties can take longer because multiple societies and intermediaries are involved. Track cue sheets and follow up with your publisher or PRO if payments are delayed.

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