Trailer/Advert Re-Cuts Allowed With No Extra Fee - Traps & Scams Every Musician Must Avoid

You just got a sync placement in a trailer or an advert and their email says re cuts allowed with no extra fee. It sounds like a tiny gold star on your career resume. It also can be the start of a horror story where your music is chopped, looped, remixed, and re licensed into eternity while you collect next to nothing. This guide will make you fight smart instead of cry at your inbox. Expect examples, contract language you can steal, negotiation scripts you can send, and red flags that smell like rotten cheese.

Everything here is written for millennial and Gen Z musicians who want to protect creative control and income without sounding like a peeved lawyer. Acronyms and jargon will be explained in plain language. You will walk away with an emergency checklist and a playbook for dealing with trailers, adverts, agencies, and music libraries.

Why re cuts allowed with no extra fee is almost never the generous gift it pretends to be

Imagine your song gets booked for a movie trailer. The production company asks for the master and the stems. They say they will re cut for free as needed. You picture the trailer editor doing one tasteful 30 second edit and everyone having a triumphant premiere. Real life looks different. Trailers need versions for social, vertical video, broadcast, regional markets, and test screenings. They also get used for multiple campaigns. Re cut allowed with no extra fee can mean unlimited edits across unknown media and unknown time. That equals lost value.

Here is the core problem. Licensing is not just a single event. Each fresh use creates value. Asking the rights holder to grant permission for indefinite edits without extra pay is like asking a baker to give away cupcakes for a whole season because someone once said the frosting was good. Do not be the baker who gets no credit and empty trays.

Terms you must understand right now

Clarity beats clever. Here are the important terms in plain language.

• Sync license or synchronization license. This is permission to sync your composition, your song writing, to moving image like a trailer or an advert.
• Master use license. This is permission to use a specific recorded version of your song. If you own the recording you license the master. If a label owns the recording they sign the master license.
• Stems. These are separated parts of the recording like drums, vocals, bass, and keys. Editors ask for stems so they can re cut and manipulate the balance.
• Re cut. A new edit or new edit version of the music to fit different ad lengths, new cuts, new markets, or simple creative choices.
• Buyout. A one time payment for broad rights that often cover all uses forever. Buyouts are common in stock music and production libraries.
• Exclusive. If a license is exclusive you cannot license the same composition or master to anyone else in the agreed field of use during the agreed time.
• Non exclusive. You can license the same composition or master to multiple parties. This usually means lower fees per placement.
• PRO. Performance rights organization. Examples include ASCAP, BMI, and SESAC in the United States. These organizations collect and pay performance royalties when your composition is played on broadcast and certain online platforms.
• Cue sheet. A document that states what music was used, how long it played, and how it was used. It is used by broadcasters and PROs to distribute performance royalties.

How re cuts actually generate more value and why you deserve payment when they happen

An original trailer cut gets a certain audience. Every new cut extends reach, repurposes the creative for a different context, or targets a new demographic. A vertical edit for TikTok is not the same economic event as a thirty second TV spot. A ninety second trailer for an international festival is not the same as a twenty second pre roll for a mobile game. Each new edit can lead to more plays, more impressions, and more licensing value. Your fee should reflect that.

Think of each re cut as a new product that draws on your creative labor. If someone asks you to keep producing invisible products without pay you must get off the bus. You are not an unpaid feature in their marketing campaign. You are the artist whose work can make or break a spot.

Common traps and scams connected to free re cut clauses

Below are the recurring schemes that artists run into. You will see these in emails, on contracts, and in conversations with eager indie agencies.

Trap 1: Unlimited re cuts forever

Red flag language. They ask for the right to re cut indefinitely for any use. This often accompanies a low upfront fee or even a no fee model with promises of exposure. Exposure does not pay rent. The reality is that unlimited re cuts typically means indefinite reuse across unlisted media. Fix it by giving them a specific number of re cuts and charging for extras.

Trap 2: Re cut includes new markets and new media

If the clause does not limit territory or media platform the client can reuse the music in new countries and new media types without paying you more. That is a sneaky way to convert local low fee into global unlimited use. Always specify territory, platforms, and duration.

Trap 3: Buyout disguised as re cut permission

Clients sometimes offer a one time fee then claim re cuts are allowed as part of the deal. That is a buyout in all but name. A buyout must have a price that reflects permanent worldwide exclusive usage. If the fee is low ask why it is low and insist on clear buyout language if that is what they want.

Trap 4: Asking for stems without proper compensation

Stems let editors craft entirely new arrangements of your work. Giving stems can result in derivative works where your music is transformed. If they want stems you should expect a higher fee or clear limits on how stems can be used. If a client claims they only need stems to place the cue, that might be true. But if they need freedom to re cut, remix, or create alternate versions you must be paid nearly double for that flexibility.

Trap 5: Piecemeal usage with separate silent fees

Some agencies promise one fee for a trailer but later bill for each cut or each market under separate small invoices. This is a psychology trick. The small sums add up and artists who have already given permission are less likely to push back. Resist micro payment fragmentation. Get the full scope up front.

Trap 6: Fake library license

Production music libraries often sell cheap licenses. Some shady libraries will list your track and sell wide rights for a tiny fee without clearly telling you about their buyout terms. Read library contracts carefully and never allow exclusive buyouts without a hefty payment unless you want to kill future earnings from a single cheap sale.

How to read the contract clause about re cuts so you do not sign your life away

Here is a clause you might see and how it translates into human speak. Imagine you are reading this and you want to know whether danger is present.

Client is granted the right to edit, adapt, loop, re arrange, and re cut the Master and Composition for use in connection with the Project without further license or fee.

Translation

• They can change your recording and composition however they want.
• They can use it in the Project in a way that might be permanent and broad.
• You get no additional money for those changes or for new edits connected to the Project.

Fix clause with this kind of language instead. Copy paste and adapt. This language limits liability and creates a pay structure for extras.

Client is granted the right to create up to three edited versions of the Master and Composition for use solely in connection with the Project in the Territory for the Term. Additional edited versions or uses outside the Territory or Term require prior written approval and additional compensation to the Licensor.

Why this works

• It caps the number of edits at three so you avoid unlimited churn.
• It ties uses to a defined Territory and Term. Territory is the geographical area where the license applies. Term is the time period.
• It requires additional compensation for everything else.

Practical negotiation scripts you can use in an email or call

Use these lines exactly if you prefer to be blunt with class or if you want to sound like someone who knows industry norms.

Script A: Ask for limits on re cuts

Thanks for the placement offer. I am excited to work with you. I am comfortable granting up to three re cut versions for this Project. If you need more versions or edits after that we can either negotiate an additional fee per version or a flat buyout that covers unlimited edits within the agreed Territory and Term. Which option would you prefer?

This script is friendly and gives the client options. It signals you expect to be paid for additional value.

Script B: Stem request with price

I can provide stems. Stems give you more production freedom which increases the value. My stem fee is X for the set which includes up to two revisions. Additional edits beyond those will be billed at Y per edit. Let me know the deadline and platforms so I can confirm delivery.

Charge for stems. That is a cash flow moment where you can define limits and deliverables.

Script C: Territory and term pushback

I am happy to license the music for the Project in the United States and Canada for a term of two years at the fee you proposed. For use outside those territories or for a longer term we will need to discuss additional compensation. If you need worldwide rights or perpetual use please let me know and I will provide an updated quote.

Be specific about geography and duration. A small initial restriction often grows into far more value when the client wants global usage.

What to charge for re cuts and stems so you do not underprice yourself

There is no universal number that fits every musician. Fees depend on your profile, the budget of the campaign, whether the usage is exclusive, and whether the client is a theatre film, broadcast, streaming, or digital ad campaign. That said here are practical frameworks and sample ranges based on market norms and typical deals.

Use these as starting points. Adjust for your status and the campaign size.

• Small indie campaign with local or social use. Sync fee base 200 to 1,000. Stems 100 to 500. Re cut extra versions 50 to 300 per extra version.
• Mid budget campaign with national digital and some broadcast. Sync fee base 1,000 to 10,000. Stems 500 to 2,500. Re cut extra versions 250 to 1,000 per extra version.
• Large commercial or film trailer national or global. Sync fee base 10,000 to 100,000 plus. Stems 2,500 to 15,000. Re cut extra versions 1,000 to 10,000 per extra version depending on exclusivity and territory.

Again these are ranges. If you are an emerging artist with no label or publisher leverage the client will try to lowball. If you have recent credits or a viral song you can ask for higher numbers. Your goal is to never let a client turn an open ended re cut ask into a permanent work for nothing.

Sample contract language you can use to protect yourself

Legal wording that you can paste into a contract will save time. Always run any important contract by a qualified music attorney in your jurisdiction but these clauses are good starting points.

Scope of Editing

Licensor grants Client the right to create up to three edited versions of the Licensed Material for use solely in connection with the Project. Any additional edited versions must be subject to a separate written agreement and fee agreed by the parties.

Stems and Derivative Works

Licensor may provide stems upon payment of the Stem Fee. Use of stems is limited to the creation of the approved edited versions for the Project. Any derivative works or new recordings produced from the stems require prior written consent and additional compensation.

Territory and Term

The license granted herein shall be limited to the Territory and Term as defined in Schedule A. Use outside of the Territory or Term requires additional licensing and compensation.

Exclusivity

Unless otherwise specified in Schedule B, the license granted is non exclusive. Any request for exclusivity shall be the subject of a separate agreement with additional consideration to Licensor.

Credit and Cue Sheet

Client shall provide credit in the Project materials and shall timely submit an accurate cue sheet to Licensor and to any applicable Performance Rights Organizations known to Client. Client shall provide Licensor with copies of any published Project materials featuring the Licensed Material.

Indemnity for Unclear Clearance

Client represents and warrants that it has obtained all necessary rights for any third party content included in the Project. Client shall indemnify Licensor for any third party claims arising from Client provided materials or instructions that cause infringement.

Real life scenarios and how to handle them

Scenario 1

A small indie game studio wants to use your song for their trailer. They ask for stems and say re cuts allowed with no extra fee. You want exposure. What do you do?

1. Ask the studio for the budget and target platforms. If the budget is tiny consider licensing the composition only for a limited time and keep the master in your catalog.
2. Offer a one time stem fee and cap re cuts to two versions. Offer a buyout option for a fair additional fee if they want unlimited edits or exclusive use.
3. Request credit and ask them to submit cue sheets to your PRO. This ensures you get performance royalties when the trailer airs.

Scenario 2

A major trailer house asks for unlimited re cuts for an upcoming blockbuster and offers a modest fee. They are close to a studio and can promise visibility. What do you do?

1. Do not accept unlimited re cuts for a modest fee. Insist on either a proper buyout with a high fee or a limited re cut allowance with extra fees for additional edits and wider territory.
2. Negotiate a bonus for box office performance or for placement in the official trailer and TV spots. Ask for a minimum guarantee and an additional payment if the trailer is used in broadcast or in international campaigns.
3. Ask for a credit that appears in the end crawl or on official soundtrack releases. If your track drives soundtrack sales you deserve a percentage.

Scenario 3

A production music library wants your track for their catalog. They sell cheap licenses and promise volume. What do you do?

1. Read the library contract carefully. If it is a non exclusive relationship you can license elsewhere. If it is exclusive find out whether their exclusivity is limited to catalog or territory.
2. Check the buyout terms. If they demand a perpetual exclusive buyout demand a meaningful fee. If the fee is tiny say no or ask for a revenue share on each sale.
3. Limit the rights you grant for stems and derivative use. Do not give away full stem rights for a one time micro fee.

How performance royalties and cue sheets work for adverts and trailers

Performance royalties are payments to songwriters and publishers for public performances of the composition. When a trailer or advert plays on broadcast radio or TV your PRO can collect royalties for the composition. In many territories streaming and digital uses also generate performance related payments. Cue sheets list what is used and for how long. Without an accurate cue sheet your PRO may not know you should be paid.

Tip. Always get the client to send you or your publisher a copy of the cue sheet. If you do not have a publisher and the client refuses to send cue sheets register the usage details with your PRO directly. You still need to follow up aggressively. PROs pay only when they can match the usage to your registered work.

When a client asks for re cuts allowed with no extra fee but offers creative credit or exposure

Exposure is not a currency that pays bills. It might help you in rare cases but treat it like icing not salary. If a client offers exposure negotiate hard on other terms. Ask for:

• A clear credit line in the ad or trailer that matches industry standards.
• Copies of the final assets for your portfolio and social channels.
• A minimum guaranteed usage term and territory.
• An option for additional paid edits if the campaign expands beyond the agreed use.

If the exposure is actually measurable like a paid ad buy with a specific reach or a guaranteed soundtrack deal you can factor that into the fee. Otherwise exposure alone is not a reason to sign away edits for free.

Checklist to use before you press accept

• What is the Project exactly? Trailer, TV spot, online ad, social clip, or festival promo.
• What Territory is covered? Specify countries or say worldwide if that is what you intend.
• What is the Term? Specify start and end dates or perpetual and pay accordingly.
• Is the license exclusive or non exclusive? Get more money for exclusive rights.
• How many re cuts are allowed without extra fee? Set a number like three and define what counts as a cut.
• Will you provide stems? Charge for stems and limit derivative usage.
• Will the client submit a cue sheet and credits? Get a promise in writing and a copy of the cue sheet.
• Payment schedule. Request deposit and final payment before release of stems or masters.
• Indemnity and warranties. Make sure the client indemnifies you for third party content they provide.
• Chain of title. Confirm you own the composition and master or have authority to license them. Clear samples and collaborators first.

Split sheets and chain of title issues to sort before any licensing conversation

If you wrote the song with collaborators make sure you have a split sheet. A split sheet is a document that states who owns what percentage of the song writing royalty. If you do not have a split sheet you will face chaos when the PRO checks authorship and when the client needs proof you can license the song. Do not send stems or masters until chain of title is clear.

Check every sample used in the recording. If you used a sample that is uncleared an ad placement can blow up into a legal nightmare. The client will ask for warranties that the composition and recording do not infringe third party rights. Do not overstate clearances you do not actually have.

How to handle requests for alternative edits that change the mood of your song

Some edits will simply trim or loop parts of your track. Other edits can change tempo, pitch, or remove key melodic elements. If the client wants edits that change the character of your work that is a derivative work. Derivative work rights are valuable. Charge for them accordingly and retain approval rights over the final edit when possible.

Approval rights are a bargaining chip. If the client cannot accept your approval clause ask for a higher fee and a credit. You must protect the artistic integrity of your work. That includes not allowing your song to be presented in ways that damage your brand.

What to do if you already signed a bad clause and they are re cutting anyway

Taken a placement and now regret it? First calm down. Second, audit the contract. See what you actually signed. If the contract truly grants unlimited edits and you want to renegotiate you still have options.

1. Talk to the client. Politely explain that the project scope has expanded beyond what you expected and propose new fees for the new edits. This works if the client values your relationship and wants to keep things above board.
2. If the edits materially damage your reputation or brand and the client refuses to negotiate consult a music attorney. You might have arguments based on implied scope or misrepresentation depending on your jurisdiction.
3. Document everything. Copies of emails that promised one thing and then the client did another can be helpful in negotiation or dispute resolution.

Examples of clause fixes and escalators you can add so you get paid as value grows

Escalator clauses let your fee rise when the project scales. They are elegant and fair.

1. Additional Use Fee. If Client places the Licensed Material in any mass media television campaign, national broadcast, or in any use reaching more than 10 million impressions, Client shall pay Licensor an Additional Use Fee of X.

2. Territory Escalator. If Client expands use from Territory A to Territory B or to Worldwide, Client shall pay an additional Territory Fee equal to Y.

Escalators let you start with a reasonable fee for the baseline project and capture additional value if the campaign explodes. They are simple and put the onus on the client to notify you when scale changes.

Final practical tips and offensive moves

• Always ask for a deposit before releasing stems or masters. If they refuse send a high quality reference mix only. Release masters upon full payment.
• Record the date and versions of every file you send. Keep logs of who requested what edits and when.
• Develop a standard addendum for re cuts that you can append to deals. This saves time and shows that you mean business.
• Consider using a music attorney or a specialized contract service for big placements. Their small fee can save you massive regret.
• Join or consult with a PRO and register your works properly. Proper registration increases the chance you will collect performance money when trailers air.
• When in doubt ask for the client to put the requested re cut rights in the contract and show you real examples of how many edits they expect to create for similar projects. Vague promises are not payments.

FAQ

What counts as a re cut

A re cut is any new edit or edited version of your composition or recording created for the Project after the initially approved version. That includes new lengths, new arrangements, pitched or tempo shifted versions, and versions edited for different platforms such as social, TV, or mobile. Define the term in the contract so everyone agrees on what counts.

Can a client legally re cut my song if I gave them permission once

It depends on the license you granted. If the license is limited and does not include unlimited edits they cannot legally continue to re cut outside the agreed scope. If you signed a broad license that explicitly allows unlimited edits then they can. That is why contract language matters.

Do I get performance royalties when a trailer uses my song

Yes song writers and publishers can receive performance royalties for broadcast and certain digital uses. These are collected by Performance Rights Organizations or PROs like ASCAP and BMI in the United States. You must register the work and the usage so the PRO can pay you. Note that performance royalties typically apply to the composition not the sound recording. Recording owners may be paid through neighboring rights in some jurisdictions. The territory and platform can affect payments.

Should I ever give away stem files for free

Only if you know the client and the scope, or if you want to trade stems for a clear marketing benefit that you value and that is documented. Stems give significant creative control and resale potential. Charge for stems and limit their permitted uses. If you must send stems before a signed agreement consider watermarking them or sending lower fidelity versions first.

What is a buyout and when should I accept one

A buyout is a one time payment for broad rights often including perpetual use. Accept a buyout only if the fee fairly reflects permanent or exclusive usage. For small campaigns a limited license is usually better because you can license the same work multiple times. If the buyout is appealing ask for a larger fee, credit, and a clear territory statement.

How many re cuts should I allow in a standard license

Three is a sensible default for small projects. For larger projects negotiate based on budget. The key is to cap the number and define what counts as a single cut. Always get paid for anything beyond the agreed number.

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