Welcome To The 14 Day Music Licensing Blueprint!
DAY 1 Tutorial: The History of Music Licensing and Why It Still Matters Today
Welcome to Day 1!
Before we get into the how-to of sync licensing, it's important to understand what this business is really about, where it came from, how it started, and why it continues to be one of the most valuable opportunities available to indie musicians today.
What is music licensing?
Music licensing is the process of giving someone permission to use your music in a project like a TV show, film, commercial, video game, or online video. When your music is synced to picture, you're creating an emotional connection between what people see and what they hear. That moment is called a "sync," and it can be incredibly powerful.
As the rights holder, you get paid for the use of your music, while still keeping ownership. That’s what makes sync such a great opportunity. You keep control of your songs, but you allow others to use them in exchange for a fee.
Where did it all begin?
Music licensing has been around in some form for over a hundred years. In the early days of film, music was added to enhance the emotional impact of a scene. At first, this was done with live musicians in theaters. But once "talkies" came along in the late 1920s, studios began adding recorded music directly to the soundtrack. This opened the door for sync licensing.
Over the decades, music became an essential part of storytelling. Think of the way certain songs define iconic scenes in movies, or how a great track can make a commercial unforgettable. Companies realized that the right music could instantly shape the mood, identity, and emotional tone of whatever they were creating.
As more films and TV shows were produced, and as advertising and video content exploded, the demand for music skyrocketed. And it’s still growing today, with streaming platforms, social media, video games, and global media all needing new music every day.
Why this matters for you
Sync licensing is one of the few areas in the music business where independent musicians have a real shot at making money without needing a record deal or millions of followers. If you make high-quality music that fits the right moods, themes, or genres, there’s a good chance it can be placed in a project.
In this course, I'll walk through exactly how that process works. But for today, I want you to start by understanding the bigger picture. Licensing exists because music is valuable, not just as art, but as an emotional tool that enhances storytelling. That’s why brands, producers, directors, and content creators are constantly looking for the perfect track.
And that’s where you come in.
To dive deeper into the story behind music licensing and how it evolved, I put together a short documentary that covers the full history in more detail.
Welcome to Day 1!
Before we get into the how-to of sync licensing, it's important to understand what this business is really about, where it came from, how it started, and why it continues to be one of the most valuable opportunities available to indie musicians today.
What is music licensing?
Music licensing is the process of giving someone permission to use your music in a project like a TV show, film, commercial, video game, or online video. When your music is synced to picture, you're creating an emotional connection between what people see and what they hear. That moment is called a "sync," and it can be incredibly powerful.
As the rights holder, you get paid for the use of your music, while still keeping ownership. That’s what makes sync such a great opportunity. You keep control of your songs, but you allow others to use them in exchange for a fee.
Where did it all begin?
Music licensing has been around in some form for over a hundred years. In the early days of film, music was added to enhance the emotional impact of a scene. At first, this was done with live musicians in theaters. But once "talkies" came along in the late 1920s, studios began adding recorded music directly to the soundtrack. This opened the door for sync licensing.
Over the decades, music became an essential part of storytelling. Think of the way certain songs define iconic scenes in movies, or how a great track can make a commercial unforgettable. Companies realized that the right music could instantly shape the mood, identity, and emotional tone of whatever they were creating.
As more films and TV shows were produced, and as advertising and video content exploded, the demand for music skyrocketed. And it’s still growing today, with streaming platforms, social media, video games, and global media all needing new music every day.
Why this matters for you
Sync licensing is one of the few areas in the music business where independent musicians have a real shot at making money without needing a record deal or millions of followers. If you make high-quality music that fits the right moods, themes, or genres, there’s a good chance it can be placed in a project.
In this course, I'll walk through exactly how that process works. But for today, I want you to start by understanding the bigger picture. Licensing exists because music is valuable, not just as art, but as an emotional tool that enhances storytelling. That’s why brands, producers, directors, and content creators are constantly looking for the perfect track.
And that’s where you come in.
To dive deeper into the story behind music licensing and how it evolved, I put together a short documentary that covers the full history in more detail.
Tomorrow, we’ll look at how the sync licensing process actually works from start to finish, so you can start seeing the whole roadmap for yourself.
Talk soon,
Aaron
Talk soon,
Aaron
Day 1 Lead:
Heavy Hitters Music
About: Heavy Hitters Music license a wide variety of music in tv and films, including urban, rap, and hip-hop music. With a wide variety of beats and instrumentals, they work with popular shows and brands to bring a fresh sound to their projects.
Submission Details: Submit your tracks via their platform: March 2024 - INQURIES — Heavy Hitters Music
Heavy Hitters Music
About: Heavy Hitters Music license a wide variety of music in tv and films, including urban, rap, and hip-hop music. With a wide variety of beats and instrumentals, they work with popular shows and brands to bring a fresh sound to their projects.
Submission Details: Submit your tracks via their platform: March 2024 - INQURIES — Heavy Hitters Music
DAY 2: How the Sync Licensing Process Works from Start to Finish
Welcome back.
Yesterday we talked about how music licensing started and why it still matters.
Today we're going to zoom in on how the music licensing process actually works, from start to finish.
This is where a lot of musicians get stuck. They hear the term "sync licensing" and assume it's some mysterious process reserved for industry insiders only. But it isn't. Sync licensing is fairly straightforward once you understand how the parts fit together. It just takes the right music, the right approach, and a bit of patience.
Here's how it works:
It all starts with a sync-friendly track.
You write a song. Not just any song, though. To work well in sync, your music needs to serve a visual story. That means it should have emotional clarity, strong dynamics, and a structure that supports a rising or falling arc. Listen to music that is being licensed in series and films currently to get an idea of what works.
Lyrics, if there are any, should be broad and relatable. Think of universal themes. Avoid overly specific names, places, or situations unless you’re writing for a niche opportunity. Uplifting, introspective, hopeful, haunting, energetic, and inspirational are all moods that sync well, depending on the project.
We’ll talk more about what kind of music works best in tomorrow’s lesson. But for now, remember this. The best sync tracks don’t just sound good. They make you feel something.
Next, you need to prep your files.
Once your song is finished, you'll need more than just the final mix. At the very least, you should have both a vocal version and instrumental version. If possible, export stems and create alternative versions like 30-second and 60-second edits as well.
Each version should be clearly labeled with your name, the song title, your PRO affiliation, your contact info, writer splits, genre, mood, tempo, and any other identifying details. This might seem like overkill, but it’s what separates professionals from hobbyists.
Supervisors and editors don't want to track down missing information. If your file shows up with just a vague title and no details, it’s likely to be skipped.
Now you're ready to submit.
There are several paths. You can pitch directly to music supervisors, submit to music libraries, work with sync agents, or reach out to production companies and ad agencies. I usually recommend that artists starting out focus on pitching their music to music libraries. This is typically an easier way to get started compared to pitching to music supervisors. Libraries are open to hearing music from a wide variety of artists and composers, whereas music supervisors are typically looking for music specific to whatever project they are currently working on and aren't always open to unsolicited submissions.
You don’t need to chase every door. Focus on people and companies who use music like yours. Keep your emails short. Include a stream-able link, not an attachment. And always be clear about what you’re offering. If your music is one-stop, say so. If you own 100 percent of the rights, mention it.
Make it easy for someone to say yes and communicate that you understand the business and their needs.
During this course, I’ll be sending you actual leads each day. These are real people you can pitch your music to.
If your track fits, it might get licensed.
Sometimes a song is placed right away. Other times, it sits in a library for a while before landing the perfect spot. That’s perfectly normal.
If the placement is direct, you’ll sign a sync license agreement. This outlines how your track will be used, what you’ll be paid, and who owns what. If it’s through a library, those terms are usually agreed to upfront when you sign with them.
Once the project airs, royalties kick in.
Your song is used in a show. The show airs. A cue sheet gets submitted by the production company. This document tells your PRO when and how your music was used. The more prominently your music is used and the longer the duration, the more you'll be paid.
You don't need to handle the cue sheet yourself, but you do need to make sure your songs are registered properly with your PRO. That way, when those royalties flow, they land in your account.
Payments can take a while to arrive. Six to nine months is common. But once the money starts coming in, a single placement can potentially pay out for years, especially if the project is rerun, syndicated, or released internationally.
And, you can license the same song over and over. I've had several of my songs used dozens, and even hundreds of times in different projects.
Then you do it again.
Sync licensing isn't about luck. It’s about volume and consistency. The more high-quality tracks you finish, prep, and pitch, the more likely you are to land placements.
One song might get used right away. Another might take three years. A third might never get placed. That’s the nature of the business. The musicians who succeed are the ones who keep showing up, track after track, pitch after pitch.
This is a long game. I often say that music licensing is a marathon, not a sprint. But once momentum kicks in, things start to move. Libraries reach out. Supervisors remember your name. And those early placements start turning into repeat business.
Tomorrow, we’ll look at what kind of music gets licensed most often. If you want to increase your chances, you’ll want to shape your catalog with that in mind.
Talk soon,
Aaron
Welcome back.
Yesterday we talked about how music licensing started and why it still matters.
Today we're going to zoom in on how the music licensing process actually works, from start to finish.
This is where a lot of musicians get stuck. They hear the term "sync licensing" and assume it's some mysterious process reserved for industry insiders only. But it isn't. Sync licensing is fairly straightforward once you understand how the parts fit together. It just takes the right music, the right approach, and a bit of patience.
Here's how it works:
It all starts with a sync-friendly track.
You write a song. Not just any song, though. To work well in sync, your music needs to serve a visual story. That means it should have emotional clarity, strong dynamics, and a structure that supports a rising or falling arc. Listen to music that is being licensed in series and films currently to get an idea of what works.
Lyrics, if there are any, should be broad and relatable. Think of universal themes. Avoid overly specific names, places, or situations unless you’re writing for a niche opportunity. Uplifting, introspective, hopeful, haunting, energetic, and inspirational are all moods that sync well, depending on the project.
We’ll talk more about what kind of music works best in tomorrow’s lesson. But for now, remember this. The best sync tracks don’t just sound good. They make you feel something.
Next, you need to prep your files.
Once your song is finished, you'll need more than just the final mix. At the very least, you should have both a vocal version and instrumental version. If possible, export stems and create alternative versions like 30-second and 60-second edits as well.
Each version should be clearly labeled with your name, the song title, your PRO affiliation, your contact info, writer splits, genre, mood, tempo, and any other identifying details. This might seem like overkill, but it’s what separates professionals from hobbyists.
Supervisors and editors don't want to track down missing information. If your file shows up with just a vague title and no details, it’s likely to be skipped.
Now you're ready to submit.
There are several paths. You can pitch directly to music supervisors, submit to music libraries, work with sync agents, or reach out to production companies and ad agencies. I usually recommend that artists starting out focus on pitching their music to music libraries. This is typically an easier way to get started compared to pitching to music supervisors. Libraries are open to hearing music from a wide variety of artists and composers, whereas music supervisors are typically looking for music specific to whatever project they are currently working on and aren't always open to unsolicited submissions.
You don’t need to chase every door. Focus on people and companies who use music like yours. Keep your emails short. Include a stream-able link, not an attachment. And always be clear about what you’re offering. If your music is one-stop, say so. If you own 100 percent of the rights, mention it.
Make it easy for someone to say yes and communicate that you understand the business and their needs.
During this course, I’ll be sending you actual leads each day. These are real people you can pitch your music to.
If your track fits, it might get licensed.
Sometimes a song is placed right away. Other times, it sits in a library for a while before landing the perfect spot. That’s perfectly normal.
If the placement is direct, you’ll sign a sync license agreement. This outlines how your track will be used, what you’ll be paid, and who owns what. If it’s through a library, those terms are usually agreed to upfront when you sign with them.
Once the project airs, royalties kick in.
Your song is used in a show. The show airs. A cue sheet gets submitted by the production company. This document tells your PRO when and how your music was used. The more prominently your music is used and the longer the duration, the more you'll be paid.
You don't need to handle the cue sheet yourself, but you do need to make sure your songs are registered properly with your PRO. That way, when those royalties flow, they land in your account.
Payments can take a while to arrive. Six to nine months is common. But once the money starts coming in, a single placement can potentially pay out for years, especially if the project is rerun, syndicated, or released internationally.
And, you can license the same song over and over. I've had several of my songs used dozens, and even hundreds of times in different projects.
Then you do it again.
Sync licensing isn't about luck. It’s about volume and consistency. The more high-quality tracks you finish, prep, and pitch, the more likely you are to land placements.
One song might get used right away. Another might take three years. A third might never get placed. That’s the nature of the business. The musicians who succeed are the ones who keep showing up, track after track, pitch after pitch.
This is a long game. I often say that music licensing is a marathon, not a sprint. But once momentum kicks in, things start to move. Libraries reach out. Supervisors remember your name. And those early placements start turning into repeat business.
Tomorrow, we’ll look at what kind of music gets licensed most often. If you want to increase your chances, you’ll want to shape your catalog with that in mind.
Talk soon,
Aaron
Related resource: My podcast with Emmy Award Winning Songwriter Michele Vice-Maslin
I'm launching a new season of my podcast, The Sync Lab, this week, but in the meantime, I'll be highlighting a few past episodes for you to check out throughout this course. The following episode, with Emmy award winning songwriter Michèle Vice-Maslin is a great episode to start with.
Michele has had over 5,000 placements in Film and Television, Her recent work includes a 2019 producer nomination from HMMA (Hollywood Music In Media Awards), songs in the Matt Damon feature “DOWNSIZING”, the feature CON MAN starring Ving Rhames, Talia Shire, James Caan, The features LOST GIRLS, FIRECRACKERS and Dumplin’ starring Dolly Parton & Jennifer Aniston. Songs in feature films “THE SUNDAY HORSE”, “CLOUD 9”, “THE GREENING OF WHITNEY BROWN, and songs in hundreds of tv shows.
I'm launching a new season of my podcast, The Sync Lab, this week, but in the meantime, I'll be highlighting a few past episodes for you to check out throughout this course. The following episode, with Emmy award winning songwriter Michèle Vice-Maslin is a great episode to start with.
Michele has had over 5,000 placements in Film and Television, Her recent work includes a 2019 producer nomination from HMMA (Hollywood Music In Media Awards), songs in the Matt Damon feature “DOWNSIZING”, the feature CON MAN starring Ving Rhames, Talia Shire, James Caan, The features LOST GIRLS, FIRECRACKERS and Dumplin’ starring Dolly Parton & Jennifer Aniston. Songs in feature films “THE SUNDAY HORSE”, “CLOUD 9”, “THE GREENING OF WHITNEY BROWN, and songs in hundreds of tv shows.
Day 2 Lead:
Think Music
About: At THINK Music, Inc., we are an exclusive representation and multi-service licensing and publishing company, aimed at providing the music supervision community with premier (and primarily one-stop) music, from indie artists, publishers, and record labels from around the world. We tend to lean a bit left of center, and we love representing artists of all genres. Our primary focus is music licensing for Advertisements, Television, Film, & Trailers.
We pride ourselves on our close relationships with music supervisors and personally work on each project until the supervisor has found what they need. We are also able to utilize our V.I.P artists and producers to create the perfect song for any type of project.
Submit: Please email all submissions to [email protected] with the subject: SUBMISSIONS / artist's name
Contact: http://thinkmusicgroup.com/#contact
Think Music
About: At THINK Music, Inc., we are an exclusive representation and multi-service licensing and publishing company, aimed at providing the music supervision community with premier (and primarily one-stop) music, from indie artists, publishers, and record labels from around the world. We tend to lean a bit left of center, and we love representing artists of all genres. Our primary focus is music licensing for Advertisements, Television, Film, & Trailers.
We pride ourselves on our close relationships with music supervisors and personally work on each project until the supervisor has found what they need. We are also able to utilize our V.I.P artists and producers to create the perfect song for any type of project.
Submit: Please email all submissions to [email protected] with the subject: SUBMISSIONS / artist's name
- A download or streaming link to music
- Website/spotify/facebook links
- Bio, press, touring, one sheet information
- If you own your masters and/or publishing (if you are signed, please list with whom)
- The date your music was/is to be released on an album or single.
- Please know that we receive a large volume of submissions and cannot respond to every email!
Contact: http://thinkmusicgroup.com/#contact
DAY 3: What Kind of Music Gets Licensed
Welcome back.
Now that you know how the licensing process works, today we're going to talk about what kind of music actually gets used. Because not every song is right for sync. Some are a natural fit. Others need to be shaped a little. And some simply don’t work in this space at all.
The good news is you don’t need to write a specific genre to succeed. But you do need to understand what music supervisors and editors are looking for.
It starts with emotion.
The number one thing music needs to do in sync is support the emotional tone of a scene. That might mean joy, heartbreak, tension, freedom, uncertainty, longing, excitement, nostalgia, rebellion, or any number of other emotions.
This is why so many sync placements are driven by feel rather than genre. It’s not about sounding trendy. It’s about how your song helps tell the story.
Music supervisors are often searching for a track that matches a specific vibe. That could be uplifting and triumphant. Or it could be dark and atmospheric. The key is that the song feels emotionally clear. If the tone is confusing or inconsistent, it becomes harder to place.
Lyrics matter too.
When it comes to vocal tracks, lyrics can make or break your chances. You don’t need to write for sync directly, but you do want to be aware of what works.
Generally, lyrics that are too specific or strange are harder to license. If your song talks about a particular city, time, or person’s name, it might limit its usefulness. On the other hand, lyrics that are universal and broadly emotional tend to work better.
Think phrases like “I’m ready to begin,” “nothing’s holding me back,” “let it all go,” or “this is the moment.” These kinds of lines work in dozens of different scenes, from sports montages to movie trailers to reality shows.
The more flexible your lyrics, the more scenes your song can fit.
Instrumentals are incredibly valuable.
You don’t always need vocals. In fact, many placements are instrumental. Editors love instrumentals because they sit under dialogue without competing with it.
Even if you primarily write vocal tracks, always create an instrumental version. Many songs get placed in instrumental form, especially in reality TV, documentaries, commercials, and background scenes.
Instrumentals that build slowly or evolve over time are especially useful. Tracks with a clear mood, evolving energy, and a modern sound tend to do well.
Structure plays a huge role.
Another important element is the structure of your song. Editors are looking for tracks that are easy to cut and move around. That means songs with clear sections, natural builds, and strong transitions.
Intros should be tight. Songs that take too long to get going usually get skipped. It’s also helpful to avoid sudden dropouts, tempo changes, or harsh production shifts unless they serve a clear purpose.
If your track builds to a climax, has edit points, or includes breaks where dialogue can sit, you're increasing its usability. That makes editors’ lives easier, and that makes you more valuable.
Quality and production level must be competitive.
Even if you’re writing from a home studio, your production needs to be clean, polished, and on par with what’s being placed. That doesn’t mean you need a major label budget. But it does mean your mixes should be tight, your performances should be confident, and your track should sound like it belongs on television.
Music supervisors are comparing your work to everything else on their desk. If the production sounds amateur, it's going to get passed over.
Genre doesn’t matter as much as you think.
Pop, indie rock, orchestral, hip hop, electronic, folk, acoustic, ambient, and cinematic styles all get licensed. What matters most is the emotion your music delivers and how well it fits the context of the scene.
That said, some genres are more in demand for certain types of placements. Indie rock and cinematic pop often show up in film and trailer work. Hip hop and Latin music are big in sports, reality TV, and ads. Minimal piano or ambient guitar cues are common in documentaries and scripted drama. Dramedy shows love quirky, pizzicato-based instrumentals. The list goes on.
You don’t need to chase trends. You just need to understand where your music naturally fits.
Start by analyzing what's already working.
One of the best ways to understand what gets licensed is to pay attention. Watch shows, trailers, ads, and documentaries. Listen to what kinds of tracks they’re using. Notice the tone, structure, lyrics, and mix.
You’ll start to see patterns. And once you understand those patterns, you can start writing and producing with more clarity and intention.
Tomorrow, we’ll talk about how to write music that works for sync without losing your creative voice. You don’t need to sell out to get placements. But you do need a strategy.
Talk soon,
Aaron
Welcome back.
Now that you know how the licensing process works, today we're going to talk about what kind of music actually gets used. Because not every song is right for sync. Some are a natural fit. Others need to be shaped a little. And some simply don’t work in this space at all.
The good news is you don’t need to write a specific genre to succeed. But you do need to understand what music supervisors and editors are looking for.
It starts with emotion.
The number one thing music needs to do in sync is support the emotional tone of a scene. That might mean joy, heartbreak, tension, freedom, uncertainty, longing, excitement, nostalgia, rebellion, or any number of other emotions.
This is why so many sync placements are driven by feel rather than genre. It’s not about sounding trendy. It’s about how your song helps tell the story.
Music supervisors are often searching for a track that matches a specific vibe. That could be uplifting and triumphant. Or it could be dark and atmospheric. The key is that the song feels emotionally clear. If the tone is confusing or inconsistent, it becomes harder to place.
Lyrics matter too.
When it comes to vocal tracks, lyrics can make or break your chances. You don’t need to write for sync directly, but you do want to be aware of what works.
Generally, lyrics that are too specific or strange are harder to license. If your song talks about a particular city, time, or person’s name, it might limit its usefulness. On the other hand, lyrics that are universal and broadly emotional tend to work better.
Think phrases like “I’m ready to begin,” “nothing’s holding me back,” “let it all go,” or “this is the moment.” These kinds of lines work in dozens of different scenes, from sports montages to movie trailers to reality shows.
The more flexible your lyrics, the more scenes your song can fit.
Instrumentals are incredibly valuable.
You don’t always need vocals. In fact, many placements are instrumental. Editors love instrumentals because they sit under dialogue without competing with it.
Even if you primarily write vocal tracks, always create an instrumental version. Many songs get placed in instrumental form, especially in reality TV, documentaries, commercials, and background scenes.
Instrumentals that build slowly or evolve over time are especially useful. Tracks with a clear mood, evolving energy, and a modern sound tend to do well.
Structure plays a huge role.
Another important element is the structure of your song. Editors are looking for tracks that are easy to cut and move around. That means songs with clear sections, natural builds, and strong transitions.
Intros should be tight. Songs that take too long to get going usually get skipped. It’s also helpful to avoid sudden dropouts, tempo changes, or harsh production shifts unless they serve a clear purpose.
If your track builds to a climax, has edit points, or includes breaks where dialogue can sit, you're increasing its usability. That makes editors’ lives easier, and that makes you more valuable.
Quality and production level must be competitive.
Even if you’re writing from a home studio, your production needs to be clean, polished, and on par with what’s being placed. That doesn’t mean you need a major label budget. But it does mean your mixes should be tight, your performances should be confident, and your track should sound like it belongs on television.
Music supervisors are comparing your work to everything else on their desk. If the production sounds amateur, it's going to get passed over.
Genre doesn’t matter as much as you think.
Pop, indie rock, orchestral, hip hop, electronic, folk, acoustic, ambient, and cinematic styles all get licensed. What matters most is the emotion your music delivers and how well it fits the context of the scene.
That said, some genres are more in demand for certain types of placements. Indie rock and cinematic pop often show up in film and trailer work. Hip hop and Latin music are big in sports, reality TV, and ads. Minimal piano or ambient guitar cues are common in documentaries and scripted drama. Dramedy shows love quirky, pizzicato-based instrumentals. The list goes on.
You don’t need to chase trends. You just need to understand where your music naturally fits.
Start by analyzing what's already working.
One of the best ways to understand what gets licensed is to pay attention. Watch shows, trailers, ads, and documentaries. Listen to what kinds of tracks they’re using. Notice the tone, structure, lyrics, and mix.
You’ll start to see patterns. And once you understand those patterns, you can start writing and producing with more clarity and intention.
Tomorrow, we’ll talk about how to write music that works for sync without losing your creative voice. You don’t need to sell out to get placements. But you do need a strategy.
Talk soon,
Aaron
Related resource: My podcast with Emmy award winning music supervisor, Susan Jacobs.
Susan Jacobs is a powerhouse in the world of music supervision, with a remarkable career that includes work on acclaimed projects such as "Silver Linings Playbook," “Little Miss Sunshine”, “Capote”, “Unbreakable”, “The Visit”, “Old”, "American Hustle," the award-winning HBO series "Big Little Lies” and many more.
Susan Jacobs is a powerhouse in the world of music supervision, with a remarkable career that includes work on acclaimed projects such as "Silver Linings Playbook," “Little Miss Sunshine”, “Capote”, “Unbreakable”, “The Visit”, “Old”, "American Hustle," the award-winning HBO series "Big Little Lies” and many more.
Day 3 Lead:
Next Gen Music
About: https://www.nexgenmusicgroup.com/about
Submit: https://www.nexgenmusicgroup.com/demos
Contact: INFO@NEXGENMUSICGROUP
Next Gen Music
About: https://www.nexgenmusicgroup.com/about
Submit: https://www.nexgenmusicgroup.com/demos
Contact: INFO@NEXGENMUSICGROUP
DAY 4: Writing Music That Sells Without Selling Out
Welcome to Day 4.
Now that you understand what kind of music gets licensed, it’s time to tackle the question: How can you write music that works for sync without losing your creative voice?
It’s a tricky balance. You want to write authentic, unique music while also ensuring that it’s marketable in the sync world. The key is finding that sweet spot where your sound fits the needs of the industry, but still remains true to what you love to create.
Here are a few tips to help you navigate this process.
Write with intention.
It’s easy to fall into the trap of writing music for the sake of writing music. And there’s nothing wrong with that. But in sync licensing, there’s power in writing with intention. This doesn’t mean you need to abandon your style or creativity. It simply means you should be aware of what kind of music people need and how your sound can fit into those spaces.
Think about it like this: when a director or supervisor is choosing music, they are looking for a very specific vibe. They’re not looking for your personal expression of sorrow, they’re looking for a track that reflects a character’s emotional journey in a film. Your job is to provide the right tools for that job.
Writing with intention doesn’t mean you need to sacrifice your voice. It just means you have a clear understanding of how your music will serve the story. You are still the artist, but you’re now thinking of your music in the context of visual media.
Focus on structure.
Sync music needs to be versatile and easy to use. This means the structure of your song is essential. You don’t need to follow strict rules, but there are certain conventions that will make your music more usable for editors.
A well-structured song is easier to cut, loop, and sync with visuals. It’s helpful to have clear sections like an intro, verse, chorus, bridge, and outro. You also want to make sure your track has room for edits. If your song has a sudden tempo change or a heavy build-up in the middle, it might make it harder for editors to place.
Think about how your track can serve a range of purposes. Is there a section that can be used as an intro? Is there a break where the vocals can drop out, making space for dialogue or sound effects? Can the energy build and fade without disrupting the mood of a scene?
Keep the emotions clear.
Music in sync needs to evoke specific emotions in a straightforward way. A song that’s too complex or abstract might get passed over, especially if it’s not serving a specific visual cue.
When you’re writing for sync, think about the emotional core of your song. Is it uplifting? Mellow? Tense? Playful? Knowing the emotion at the heart of your song will help ensure it’s clear and effective when used in a scene.
It’s easy to get lost in the details or overcomplicate things. But when you simplify and focus on the emotional through-line, you make your music more universal and easier for music supervisors to place.
Experiment within your style.
You don’t need to abandon your genre or personal style. The key is to experiment within your style, while keeping in mind the practical needs of sync.
For example, if you’re an electronic artist, try writing a track with minimal production that still delivers a clear emotional message. If you’re a singer-songwriter, experiment with writing instrumental versions of your songs, or focus on creating shorter, concise edits of your full-length tracks.
Sync is about versatility, so try writing songs that can be stripped down or expanded, with different versions for different needs. It could be as simple as having a full version, a stripped-back version, and a version without the lead vocals.
Avoid overproduction.
When writing for sync, sometimes less is more. Editors need room to work, and a song that’s too busy or overproduced can make it harder for them to sync it to the visuals. Keep your mix clean and allow space for the music to breathe.
This doesn’t mean you can’t get creative with your production. But it’s important to know that sync tracks often work better when they’re not overly complex. Editors need the flexibility to use your music in various ways, so keep the mix open, with clear focus on the elements that matter most.
Write often and experiment.
One of the best ways to improve your writing is to do it consistently. The more you write, the more you'll learn about what works and what doesn’t. Experiment with different moods, genres, and song structures. Push your boundaries, but stay aware of what’s marketable in sync.
Sync licensing rewards volume and consistency. Don’t expect to hit a home run with every song. But with every track you write, you’ll get closer to the kinds of placements you want.
Welcome to Day 4.
Now that you understand what kind of music gets licensed, it’s time to tackle the question: How can you write music that works for sync without losing your creative voice?
It’s a tricky balance. You want to write authentic, unique music while also ensuring that it’s marketable in the sync world. The key is finding that sweet spot where your sound fits the needs of the industry, but still remains true to what you love to create.
Here are a few tips to help you navigate this process.
Write with intention.
It’s easy to fall into the trap of writing music for the sake of writing music. And there’s nothing wrong with that. But in sync licensing, there’s power in writing with intention. This doesn’t mean you need to abandon your style or creativity. It simply means you should be aware of what kind of music people need and how your sound can fit into those spaces.
Think about it like this: when a director or supervisor is choosing music, they are looking for a very specific vibe. They’re not looking for your personal expression of sorrow, they’re looking for a track that reflects a character’s emotional journey in a film. Your job is to provide the right tools for that job.
Writing with intention doesn’t mean you need to sacrifice your voice. It just means you have a clear understanding of how your music will serve the story. You are still the artist, but you’re now thinking of your music in the context of visual media.
Focus on structure.
Sync music needs to be versatile and easy to use. This means the structure of your song is essential. You don’t need to follow strict rules, but there are certain conventions that will make your music more usable for editors.
A well-structured song is easier to cut, loop, and sync with visuals. It’s helpful to have clear sections like an intro, verse, chorus, bridge, and outro. You also want to make sure your track has room for edits. If your song has a sudden tempo change or a heavy build-up in the middle, it might make it harder for editors to place.
Think about how your track can serve a range of purposes. Is there a section that can be used as an intro? Is there a break where the vocals can drop out, making space for dialogue or sound effects? Can the energy build and fade without disrupting the mood of a scene?
Keep the emotions clear.
Music in sync needs to evoke specific emotions in a straightforward way. A song that’s too complex or abstract might get passed over, especially if it’s not serving a specific visual cue.
When you’re writing for sync, think about the emotional core of your song. Is it uplifting? Mellow? Tense? Playful? Knowing the emotion at the heart of your song will help ensure it’s clear and effective when used in a scene.
It’s easy to get lost in the details or overcomplicate things. But when you simplify and focus on the emotional through-line, you make your music more universal and easier for music supervisors to place.
Experiment within your style.
You don’t need to abandon your genre or personal style. The key is to experiment within your style, while keeping in mind the practical needs of sync.
For example, if you’re an electronic artist, try writing a track with minimal production that still delivers a clear emotional message. If you’re a singer-songwriter, experiment with writing instrumental versions of your songs, or focus on creating shorter, concise edits of your full-length tracks.
Sync is about versatility, so try writing songs that can be stripped down or expanded, with different versions for different needs. It could be as simple as having a full version, a stripped-back version, and a version without the lead vocals.
Avoid overproduction.
When writing for sync, sometimes less is more. Editors need room to work, and a song that’s too busy or overproduced can make it harder for them to sync it to the visuals. Keep your mix clean and allow space for the music to breathe.
This doesn’t mean you can’t get creative with your production. But it’s important to know that sync tracks often work better when they’re not overly complex. Editors need the flexibility to use your music in various ways, so keep the mix open, with clear focus on the elements that matter most.
Write often and experiment.
One of the best ways to improve your writing is to do it consistently. The more you write, the more you'll learn about what works and what doesn’t. Experiment with different moods, genres, and song structures. Push your boundaries, but stay aware of what’s marketable in sync.
Sync licensing rewards volume and consistency. Don’t expect to hit a home run with every song. But with every track you write, you’ll get closer to the kinds of placements you want.
Related Resource: My latest podcast with full time TV/Film composer, Bryn Evans. I had the pleasure of speaking with Australian TV/Film composer and songwriter Bryn Evans earlier this week. Bryn has been making a full time income licensing his music in tv and films, for 10 years now.
Learn how he does it in our podcast.
Learn how he does it in our podcast.
Day 4 Lead:
Play It Loud
About: Play it Loud Music was established in 2006 by music entrepreneur Aaron Bethune. With a life long passion for music, an entrepreneurial spirit, and a background in music performance, Aaron has gained a unique perspective into the power of music and those that create it. In recent years Aaron's book Musicpreneur: The Creative Approach to Making Money in Music has become a text book at select universities and music institutions worldwide.
Submission Guidelines: Contact — PlayItLoudMusic
Play It Loud
About: Play it Loud Music was established in 2006 by music entrepreneur Aaron Bethune. With a life long passion for music, an entrepreneurial spirit, and a background in music performance, Aaron has gained a unique perspective into the power of music and those that create it. In recent years Aaron's book Musicpreneur: The Creative Approach to Making Money in Music has become a text book at select universities and music institutions worldwide.
Submission Guidelines: Contact — PlayItLoudMusic
DAY 5: The Files You Need to Pitch Your Music Professionally
Welcome back.
Now that you know what kind of music works for sync and how to approach writing it, today we’re going to talk about one of the most overlooked but important parts of the licensing process: preparing your files.
You can write the perfect track for sync, but if your files aren’t organized and professionally prepared, you might lose the opportunity. Music supervisors, editors, and libraries are busy. They don’t have time to chase you down for missing information or unusable file formats.
Today we’ll go over exactly what you need to have ready before you start pitching your music.
Start with your full-resolution master.
Once your track is mixed and mastered, you’ll want a high-quality version ready to send. That usually means a 16-bit or 24-bit WAV file at 44.1 kHz or 48 kHz, depending on the specs requested. MP3s are fine for previewing, but when it comes time to deliver a track for placement, you’ll almost always be asked for a WAV.
Keep this file clean and free of clipping. Make sure there’s no hidden noise at the beginning or end, and avoid long fades unless they’re intentional.
Create an instrumental version.
This is a must. Even if your vocals are great, many placements happen with instrumental versions of songs. Editors love having options, and an instrumental gives them more flexibility to work around dialogue and sound effects.
Don’t just mute the vocal track and call it done. Make sure the instrumental still feels complete and polished. Sometimes you may need to boost a melodic element or subtly adjust the mix to fill the space the vocals leave behind.
Prepare stems if you can.
Stems are individual tracks or grouped layers from your song. These might include drums, bass, guitars, keys, vocals, or any other core elements. While not always required, stems are a huge bonus and sometimes essential for film and trailer placements where editors need precise control over the mix.
If you’re serious about sync, consider exporting stems for every finished song and organizing them clearly in a folder labeled with the song title.
Create alternate versions.
Alternate versions include things like short edits, minimal versions, and vocal-only or drum-and-bass-only versions. These aren’t required for every placement, but having them prepared can set you apart. A 15-second or 30-second version of your song can make you a great fit for advertising or social media campaigns.
Think of it like building a toolkit. The more flexible your music is, the more usable it becomes across different formats and projects.
Get your metadata together.
This is a critical piece that many artists overlook. Metadata is the information embedded into your audio file that tells people what the track is, who made it, how to contact you, and who owns the rights.
At minimum, your metadata should include your full name, email address, phone number if you're comfortable, the song title, your PRO affiliation, writer and publisher splits, genre, mood, tempo, and any other relevant tags.
Even if you don’t embed this info directly into your WAV or MP3 files, you should include it in a document or email when submitting your music. Some artists also keep a one-sheet that contains this info for each song in their catalog.
Use clear and consistent naming.
File names matter. Avoid vague titles like “track-final-v2-mastered.wav.” Instead, use a format like: “YourName_SongTitle_FullMix.wav” or “YourName_SongTitle_Instrumental.wav.” This helps the person receiving your music stay organized and know exactly what they’re listening to.
If your songs are getting passed around a team of editors or producers, this kind of clarity will save time and make you look more professional.
Organize your catalog.
As your catalog grows, you’ll want a system for tracking all your versions, file types, metadata, and submissions. This can be as simple as a spreadsheet or as advanced as music catalog software.
Keeping your files clean, labeled, and accessible means you can respond quickly when someone expresses interest. And that speed can make the difference between landing a placement and missing it.
Welcome back.
Now that you know what kind of music works for sync and how to approach writing it, today we’re going to talk about one of the most overlooked but important parts of the licensing process: preparing your files.
You can write the perfect track for sync, but if your files aren’t organized and professionally prepared, you might lose the opportunity. Music supervisors, editors, and libraries are busy. They don’t have time to chase you down for missing information or unusable file formats.
Today we’ll go over exactly what you need to have ready before you start pitching your music.
Start with your full-resolution master.
Once your track is mixed and mastered, you’ll want a high-quality version ready to send. That usually means a 16-bit or 24-bit WAV file at 44.1 kHz or 48 kHz, depending on the specs requested. MP3s are fine for previewing, but when it comes time to deliver a track for placement, you’ll almost always be asked for a WAV.
Keep this file clean and free of clipping. Make sure there’s no hidden noise at the beginning or end, and avoid long fades unless they’re intentional.
Create an instrumental version.
This is a must. Even if your vocals are great, many placements happen with instrumental versions of songs. Editors love having options, and an instrumental gives them more flexibility to work around dialogue and sound effects.
Don’t just mute the vocal track and call it done. Make sure the instrumental still feels complete and polished. Sometimes you may need to boost a melodic element or subtly adjust the mix to fill the space the vocals leave behind.
Prepare stems if you can.
Stems are individual tracks or grouped layers from your song. These might include drums, bass, guitars, keys, vocals, or any other core elements. While not always required, stems are a huge bonus and sometimes essential for film and trailer placements where editors need precise control over the mix.
If you’re serious about sync, consider exporting stems for every finished song and organizing them clearly in a folder labeled with the song title.
Create alternate versions.
Alternate versions include things like short edits, minimal versions, and vocal-only or drum-and-bass-only versions. These aren’t required for every placement, but having them prepared can set you apart. A 15-second or 30-second version of your song can make you a great fit for advertising or social media campaigns.
Think of it like building a toolkit. The more flexible your music is, the more usable it becomes across different formats and projects.
Get your metadata together.
This is a critical piece that many artists overlook. Metadata is the information embedded into your audio file that tells people what the track is, who made it, how to contact you, and who owns the rights.
At minimum, your metadata should include your full name, email address, phone number if you're comfortable, the song title, your PRO affiliation, writer and publisher splits, genre, mood, tempo, and any other relevant tags.
Even if you don’t embed this info directly into your WAV or MP3 files, you should include it in a document or email when submitting your music. Some artists also keep a one-sheet that contains this info for each song in their catalog.
Use clear and consistent naming.
File names matter. Avoid vague titles like “track-final-v2-mastered.wav.” Instead, use a format like: “YourName_SongTitle_FullMix.wav” or “YourName_SongTitle_Instrumental.wav.” This helps the person receiving your music stay organized and know exactly what they’re listening to.
If your songs are getting passed around a team of editors or producers, this kind of clarity will save time and make you look more professional.
Organize your catalog.
As your catalog grows, you’ll want a system for tracking all your versions, file types, metadata, and submissions. This can be as simple as a spreadsheet or as advanced as music catalog software.
Keeping your files clean, labeled, and accessible means you can respond quickly when someone expresses interest. And that speed can make the difference between landing a placement and missing it.
Related Resource: Preparing Your Tracks For Music Licensing
Day 5 Lead:
Sodabox Music
About: https://sodaboxmusic.com/#contact
Submit: https://sodaboxmusic.com/submissions
Contact: https://sodaboxmusic.com/#contact
Sodabox Music
About: https://sodaboxmusic.com/#contact
Submit: https://sodaboxmusic.com/submissions
Contact: https://sodaboxmusic.com/#contact
DAY 6: Understanding the Different Types of Licensing Deals
Welcome back.
Now that your music is prepped and ready, it’s time to look at what happens when someone wants to use it. Today’s lesson breaks down the different types of licensing deals you’ll encounter and how to make smart choices when those opportunities come up.
Not all deals are the same. Some offer upfront money. Some offer backend royalties. Some give you full control, while others limit how and where you can pitch your music. Understanding these basics will help you protect your rights and avoid bad agreements.
So what is a sync license?
A sync license gives someone permission to use your music in a visual project. That could be a TV show, film, commercial, trailer, video game, or any other production that combines music with video.
The license outlines how your song will be used, where it will be used, how long the license lasts, what kind of media it covers, and whether or not you’ll be paid upfront. It may also include details about ownership, rights, and exclusivity.
Exclusive vs non-exclusive deals
An exclusive deal means one company has the sole right to represent your song. You can’t pitch it elsewhere while the deal is active. These deals can lead to more focused pitching and sometimes better opportunities, but they limit your flexibility. You’ll want to be sure the company is reputable and actively pitching before locking up your song this way.
A non-exclusive deal means you can offer the same track to multiple companies at the same time. This is common in the world of music libraries and can be great for building momentum when you’re starting out. The downside is that it creates the possibility of multiple companies pitching the same track for the same opportunity, which can occasionally lead to confusion.
Upfront fees vs backend royalties
Some placements come with a sync fee. This is a one-time payment for the use of your track, agreed upon in the license. Fees can vary depending on the project. A national commercial might pay thousands. A cable reality show might pay nothing upfront, but still generate performance royalties.
Backend royalties are paid out by your PRO once the project airs. This is where a lot of long-term income comes from, especially for placements in TV shows that rerun or get picked up in international markets.
Many placements don’t pay upfront, especially through libraries. But they still add up over time when the show airs and royalties are tracked properly.
Work for hire vs keeping your rights
Be cautious of any agreement that requires you to give up ownership of your song. A work-for-hire agreement means you’re giving up all rights. You may get paid once, but you won’t earn anything else from that track.
That kind of deal can sometimes make sense for custom scoring work or very high-profile campaigns, but in most cases, especially when licensing your existing music, you want to keep ownership. A sync license should grant usage rights, not ownership.
Read every agreement
Every deal is different. Some companies will send formal contracts. Others may use online portals with terms you agree to by uploading your tracks. No matter how the agreement is presented, read everything. Make sure you understand the terms. If you’re not sure what something means, ask questions. If needed, get a lawyer to take a quick look.
You don’t need to become an expert in music law. But you do need to protect your rights and make sure you’re not giving away more than you realize.
Tomorrow we’ll take a deeper look at music libraries. We’ll talk about how they work, how to tell the good ones from the bad, and what to expect when you start submitting.
Talk soon,
Aaron
Welcome back.
Now that your music is prepped and ready, it’s time to look at what happens when someone wants to use it. Today’s lesson breaks down the different types of licensing deals you’ll encounter and how to make smart choices when those opportunities come up.
Not all deals are the same. Some offer upfront money. Some offer backend royalties. Some give you full control, while others limit how and where you can pitch your music. Understanding these basics will help you protect your rights and avoid bad agreements.
So what is a sync license?
A sync license gives someone permission to use your music in a visual project. That could be a TV show, film, commercial, trailer, video game, or any other production that combines music with video.
The license outlines how your song will be used, where it will be used, how long the license lasts, what kind of media it covers, and whether or not you’ll be paid upfront. It may also include details about ownership, rights, and exclusivity.
Exclusive vs non-exclusive deals
An exclusive deal means one company has the sole right to represent your song. You can’t pitch it elsewhere while the deal is active. These deals can lead to more focused pitching and sometimes better opportunities, but they limit your flexibility. You’ll want to be sure the company is reputable and actively pitching before locking up your song this way.
A non-exclusive deal means you can offer the same track to multiple companies at the same time. This is common in the world of music libraries and can be great for building momentum when you’re starting out. The downside is that it creates the possibility of multiple companies pitching the same track for the same opportunity, which can occasionally lead to confusion.
Upfront fees vs backend royalties
Some placements come with a sync fee. This is a one-time payment for the use of your track, agreed upon in the license. Fees can vary depending on the project. A national commercial might pay thousands. A cable reality show might pay nothing upfront, but still generate performance royalties.
Backend royalties are paid out by your PRO once the project airs. This is where a lot of long-term income comes from, especially for placements in TV shows that rerun or get picked up in international markets.
Many placements don’t pay upfront, especially through libraries. But they still add up over time when the show airs and royalties are tracked properly.
Work for hire vs keeping your rights
Be cautious of any agreement that requires you to give up ownership of your song. A work-for-hire agreement means you’re giving up all rights. You may get paid once, but you won’t earn anything else from that track.
That kind of deal can sometimes make sense for custom scoring work or very high-profile campaigns, but in most cases, especially when licensing your existing music, you want to keep ownership. A sync license should grant usage rights, not ownership.
Read every agreement
Every deal is different. Some companies will send formal contracts. Others may use online portals with terms you agree to by uploading your tracks. No matter how the agreement is presented, read everything. Make sure you understand the terms. If you’re not sure what something means, ask questions. If needed, get a lawyer to take a quick look.
You don’t need to become an expert in music law. But you do need to protect your rights and make sure you’re not giving away more than you realize.
Tomorrow we’ll take a deeper look at music libraries. We’ll talk about how they work, how to tell the good ones from the bad, and what to expect when you start submitting.
Talk soon,
Aaron
Day 6 Lead:
Bright Antenna
About: http://www.brightantenna.com/
Submit: http://www.brightantenna.com/contact
Contact: http://www.brightantenna.com/
Bright Antenna
About: http://www.brightantenna.com/
Submit: http://www.brightantenna.com/contact
Contact: http://www.brightantenna.com/
DAY 7: Music Libraries 101: What They Are and How They Work
Welcome back.
Today we’re diving into one of the most common paths musicians take to get their music licensed: music libraries.
If you’re just starting out in sync, libraries can be a great way to get your music in front of decision-makers. But not all libraries are created equal, and it’s important to understand how they work, what to look out for, and how to decide if a particular library is right for you.
So what is a music library?
A music library is a company that collects and organizes music for use in TV, films, ads, trailers, video games, and other media. These libraries make it easier for music supervisors, editors, and producers to find pre-cleared music that fits their projects.
You upload your songs, and the library adds them to their searchable catalog. When a client needs a certain mood or genre, they browse the library, find your track, and license it for use. In return, you get paid either through upfront sync fees, backend royalties, or both, depending on the type of agreement in place.
The two main types of libraries
Some libraries operate on a non-exclusive basis, which means you can submit your music to other libraries at the same time. These libraries usually don’t take ownership of your music. You keep full control and are simply giving them permission to pitch and license your songs.
Other libraries operate exclusively. When you submit to an exclusive library, you’re agreeing that only they can represent your tracks in the context of sync licensing. These deals often last for one to three years, sometimes longer, even in perpetuity. In exchange, they may put more energy into pitching your music since they’re the only ones who can monetize it.
There’s no right or wrong choice here. Both models can work. It depends on your goals, the strength of the library, and how you prefer to manage your catalog.
How libraries make money
Most libraries take a percentage of any sync fee that comes in from your placement. Some take 50 percent. Some take more. A few might take less. Many also collect the publisher’s share of performance royalties, leaving you with the writer’s share.
This is standard in the industry, and it’s how they keep their business running. Just make sure you understand what the split is before you sign anything. A good library will be upfront about this and will provide clear documentation outlining the terms.
What to expect when you submit
If a library accepts your submission, they’ll usually ask for your full mix, an instrumental version, and all your metadata. Some may also request stems or alternative versions. Once your track is in their system, it becomes part of their catalog and can be pitched to a variety of clients.
Most libraries don’t offer upfront payments just for joining. You get paid if and when your tracks are used. Some placements happen quickly. Others take months or even years. That’s why volume and consistency matter. The more high-quality tracks you have in the system, the better your chances of getting your music licensed.
How to evaluate a library
Before you send your music anywhere, do some basic research. Visit their website. See what kind of clients they work with. Look at their catalog and check out the quality and style of the music they work with. If the site looks outdated, vague, or lacks clear contact info, that might be a red flag.
A good library should have a professional presence, a clear submission process, and some transparency about how they operate. You want to work with companies that have real relationships with music supervisors and are actively placing music.
Don’t chase every opportunity
When you’re first starting out, it can be tempting to submit your music to every library that will take it. But that approach can backfire. Instead, focus on finding a few libraries that genuinely fit your style. Look for ones that specialize in your genre or have placed music in shows or ads that make sense for your sound.
Building relationships with a handful of good libraries is usually more effective than flooding a dozen questionable ones with your entire catalog.
Tomorrow we’ll break down how to actually submit your music. We’ll talk about what to say, how to present your work, and what to do if you don’t hear back right away.
Talk soon,
Aaron
Related Video: Exclusive VS Non Exclusive Contracts
Day 7 Lead:
Bopper Music
About: https://www.boppermusic.com/
Submit: https://www.boppermusic.com/contact
Contact: https://www.boppermusic.com/contact
Bopper Music
About: https://www.boppermusic.com/
Submit: https://www.boppermusic.com/contact
Contact: https://www.boppermusic.com/contact
DAY 8: How to Submit Your Music Like a Pro
Welcome back.
By now, you’ve probably started to think about where your music might fit and who you want to send it to. Whether you’re reaching out to music supervisors, submitting to libraries, or responding to sync leads, how you present yourself and your music matters just as much as the music itself.
Today’s lesson is all about how to submit your music in a way that looks professional, makes a good first impression, and increases your chances of getting heard.
Keep it simple and respectful
The people you’re reaching out to are busy. Music supervisors, editors, and library staff are often reviewing dozens, sometimes hundreds of submissions a week. Your goal is to make their job easier, not harder. That means sending short, clear messages with exactly what they need and nothing they don’t.
Start with a brief intro. One or two sentences is enough. Let them know who you are, that you’re a songwriter or producer, and that you have music available for licensing. If it’s relevant, mention that you own 100 percent of the rights to your music. This makes you easier to work with and eliminates clearance issues.
Make it easy to listen
Always include a link where your music can be streamed. Do not attach files unless you’re specifically asked to. You want to make it as frictionless as possible for someone to hear your song.
I recommend using platforms like Disco, Box, Google Drive, or even a private SoundCloud link. Make sure the link works, the tracks are labeled clearly, and your contact information is visible somewhere. If someone likes your music and wants to license it, they need to be able to reach you easily.
Send only what fits
This is one of the most important points in the whole course. Do not send music blindly. Take time to understand what the recipient actually uses. If you’re submitting to a library that specializes in reality TV background cues, don’t send them moody singer-songwriter ballads. If a sync agent focuses on trailer music, don’t pitch lo-fi instrumentals.
The more your music fits the needs of the person you’re contacting, the better your chances of getting placed. It’s not just about quality. It’s about relevance.
Label your tracks clearly
Your files should be named in a way that makes sense at a glance. Use a format like: FirstName_LastName_SongTitle_FullMix or Instrumental. If someone downloads your file or bookmarks your link, you want them to know what it is without having to open it.
Sloppy file names and missing information are one of the fastest ways to get passed over.
Follow up professionally
If you don’t hear back right away, don’t panic. That’s completely normal. People are busy. Sometimes your email got buried. Sometimes your music was good, but not the right fit for what they needed at the time.
It’s okay to follow up once after a week or two. Keep it friendly and brief. If you still don’t get a response, move on. Never take it personally, and never send more emails than you need to. Professionalism goes a long way in this business, and a respectful attitude is often remembered even more than the music.
Consistency builds trust
As you submit more music over time, people will start to recognize your name. If your music is high quality, well organized, and always comes with a professional pitch, you’ll start to stand out.
Some placements come from a first impression. Others come after months of quiet follow-up or multiple interactions. Your job is to keep showing up, stay consistent, and treat every submission as a step forward in the long game.
Tomorrow, we’ll dive into how to start building relationships with music supervisors and other decision-makers. It’s not about chasing people. It’s about knowing how to connect with the right energy and approach.
Talk soon,
Aaron
Welcome back.
By now, you’ve probably started to think about where your music might fit and who you want to send it to. Whether you’re reaching out to music supervisors, submitting to libraries, or responding to sync leads, how you present yourself and your music matters just as much as the music itself.
Today’s lesson is all about how to submit your music in a way that looks professional, makes a good first impression, and increases your chances of getting heard.
Keep it simple and respectful
The people you’re reaching out to are busy. Music supervisors, editors, and library staff are often reviewing dozens, sometimes hundreds of submissions a week. Your goal is to make their job easier, not harder. That means sending short, clear messages with exactly what they need and nothing they don’t.
Start with a brief intro. One or two sentences is enough. Let them know who you are, that you’re a songwriter or producer, and that you have music available for licensing. If it’s relevant, mention that you own 100 percent of the rights to your music. This makes you easier to work with and eliminates clearance issues.
Make it easy to listen
Always include a link where your music can be streamed. Do not attach files unless you’re specifically asked to. You want to make it as frictionless as possible for someone to hear your song.
I recommend using platforms like Disco, Box, Google Drive, or even a private SoundCloud link. Make sure the link works, the tracks are labeled clearly, and your contact information is visible somewhere. If someone likes your music and wants to license it, they need to be able to reach you easily.
Send only what fits
This is one of the most important points in the whole course. Do not send music blindly. Take time to understand what the recipient actually uses. If you’re submitting to a library that specializes in reality TV background cues, don’t send them moody singer-songwriter ballads. If a sync agent focuses on trailer music, don’t pitch lo-fi instrumentals.
The more your music fits the needs of the person you’re contacting, the better your chances of getting placed. It’s not just about quality. It’s about relevance.
Label your tracks clearly
Your files should be named in a way that makes sense at a glance. Use a format like: FirstName_LastName_SongTitle_FullMix or Instrumental. If someone downloads your file or bookmarks your link, you want them to know what it is without having to open it.
Sloppy file names and missing information are one of the fastest ways to get passed over.
Follow up professionally
If you don’t hear back right away, don’t panic. That’s completely normal. People are busy. Sometimes your email got buried. Sometimes your music was good, but not the right fit for what they needed at the time.
It’s okay to follow up once after a week or two. Keep it friendly and brief. If you still don’t get a response, move on. Never take it personally, and never send more emails than you need to. Professionalism goes a long way in this business, and a respectful attitude is often remembered even more than the music.
Consistency builds trust
As you submit more music over time, people will start to recognize your name. If your music is high quality, well organized, and always comes with a professional pitch, you’ll start to stand out.
Some placements come from a first impression. Others come after months of quiet follow-up or multiple interactions. Your job is to keep showing up, stay consistent, and treat every submission as a step forward in the long game.
Tomorrow, we’ll dive into how to start building relationships with music supervisors and other decision-makers. It’s not about chasing people. It’s about knowing how to connect with the right energy and approach.
Talk soon,
Aaron
Day 8 Lead
Catbeach Music
About: https://catbeachmusic.com/about/
Submit: https://catbeachmusic.com/contact/
Contact: https://catbeachmusic.com/contact/
Catbeach Music
About: https://catbeachmusic.com/about/
Submit: https://catbeachmusic.com/contact/
Contact: https://catbeachmusic.com/contact/
DAY 9: Building Relationships with Music Supervisors and Gatekeepers
Welcome back.
So far, we’ve talked a lot about the mechanics of music licensing. Today, we’re going to shift focus to something just as important: relationships.
In the sync world, relationships are everything. Most placements happen because someone either knows you, remembers you, or trusts the source that sent them your music. While quality music will always matter, it’s the human connection that often opens the door.
That doesn’t mean you need to schmooze or become a full-time networker. It means learning how to connect with the right people in a genuine, respectful way.
Start by showing up consistently
The biggest mistake musicians make when reaching out to music supervisors is treating it like a one-time pitch. They send a track, don’t hear back, and assume it’s a dead end. But just like any professional field, trust is built over time.
The first email might not get a reply. But if your music is good and your approach is professional, you’ve planted a seed. If you follow up with another great track a few months later, and then another down the line, you’re slowly becoming a familiar name. That familiarity can lead to trust, and that trust can lead to placements.
Be helpful, not pushy
It’s tempting to focus on what you want. A placement, a reply, a deal. But music supervisors aren’t there to help you get ahead. They’re there to find music that fits the projects they’re working on. Your job is to make their life easier by sending the right music in the right way.
Don’t beg for a listen. Don’t ask what they think of your track. Don’t follow up five times asking if they liked it. Instead, focus on presenting your music clearly and respectfully. Let your songs speak for themselves. And if you get a reply, always be gracious, whether they’re interested or not.
Respect the timing of their work
Music supervisors are often busiest when a show or film is in production. That’s usually when they’re hunting for music, making quick decisions, and juggling deadlines. Other times, they might be between projects or focused on licensing paperwork. You won’t always know what’s happening on their end.
That’s why it’s important not to take silence personally. A lot of times, no reply just means they’re not looking for that kind of track right now. It doesn’t mean your music isn’t good. It doesn’t mean they won’t listen to the next thing you send. It just means the timing wasn’t right.
Build slow, real connections
The best relationships in this industry happen over time. Maybe you connect on LinkedIn. Maybe you meet someone at a conference or through a mutual contact. Maybe a brief you respond to leads to a short conversation, and you stay in touch.
Treat these relationships with care. Don’t ask for too much. Don’t rush the process. And don’t try to force a connection that isn’t there. The sync world is smaller than it seems, and word travels fast. When people know you’re easy to work with and reliable, they’re more likely to pay attention when you send something new.
Stay focused on your craft
While building relationships matters, it’s your music that opens the door. If your tracks are strong, sync-friendly, and presented well, they will do a lot of the work for you. Relationships might give you access, but the quality of your music determines what happens next.
Keep writing. Keep improving. And keep showing up in a way that builds trust and shows that you take this seriously.
Tomorrow, we’ll talk about metadata. It might not be the most exciting topic, but it’s one of the most important parts of sync licensing. Getting it right can make the difference between landing a placement and getting passed over.
Talk soon,
Aaron
Welcome back.
So far, we’ve talked a lot about the mechanics of music licensing. Today, we’re going to shift focus to something just as important: relationships.
In the sync world, relationships are everything. Most placements happen because someone either knows you, remembers you, or trusts the source that sent them your music. While quality music will always matter, it’s the human connection that often opens the door.
That doesn’t mean you need to schmooze or become a full-time networker. It means learning how to connect with the right people in a genuine, respectful way.
Start by showing up consistently
The biggest mistake musicians make when reaching out to music supervisors is treating it like a one-time pitch. They send a track, don’t hear back, and assume it’s a dead end. But just like any professional field, trust is built over time.
The first email might not get a reply. But if your music is good and your approach is professional, you’ve planted a seed. If you follow up with another great track a few months later, and then another down the line, you’re slowly becoming a familiar name. That familiarity can lead to trust, and that trust can lead to placements.
Be helpful, not pushy
It’s tempting to focus on what you want. A placement, a reply, a deal. But music supervisors aren’t there to help you get ahead. They’re there to find music that fits the projects they’re working on. Your job is to make their life easier by sending the right music in the right way.
Don’t beg for a listen. Don’t ask what they think of your track. Don’t follow up five times asking if they liked it. Instead, focus on presenting your music clearly and respectfully. Let your songs speak for themselves. And if you get a reply, always be gracious, whether they’re interested or not.
Respect the timing of their work
Music supervisors are often busiest when a show or film is in production. That’s usually when they’re hunting for music, making quick decisions, and juggling deadlines. Other times, they might be between projects or focused on licensing paperwork. You won’t always know what’s happening on their end.
That’s why it’s important not to take silence personally. A lot of times, no reply just means they’re not looking for that kind of track right now. It doesn’t mean your music isn’t good. It doesn’t mean they won’t listen to the next thing you send. It just means the timing wasn’t right.
Build slow, real connections
The best relationships in this industry happen over time. Maybe you connect on LinkedIn. Maybe you meet someone at a conference or through a mutual contact. Maybe a brief you respond to leads to a short conversation, and you stay in touch.
Treat these relationships with care. Don’t ask for too much. Don’t rush the process. And don’t try to force a connection that isn’t there. The sync world is smaller than it seems, and word travels fast. When people know you’re easy to work with and reliable, they’re more likely to pay attention when you send something new.
Stay focused on your craft
While building relationships matters, it’s your music that opens the door. If your tracks are strong, sync-friendly, and presented well, they will do a lot of the work for you. Relationships might give you access, but the quality of your music determines what happens next.
Keep writing. Keep improving. And keep showing up in a way that builds trust and shows that you take this seriously.
Tomorrow, we’ll talk about metadata. It might not be the most exciting topic, but it’s one of the most important parts of sync licensing. Getting it right can make the difference between landing a placement and getting passed over.
Talk soon,
Aaron
Day 9 Lead
After Sunset
About: https://www.aftersunsetmusic.com/company/about/
Submit: https://www.aftersunsetmusic.com/company/contact-us/
Contact: https://www.aftersunsetmusic.com/company/contact-us/
DAY 10: The Importance of Metadata and How to Get It Right
Welcome back.
Today we’re going to talk about something that isn’t flashy but plays a critical role in music licensing: metadata.
If you’ve been following this course closely, you’ve already seen how important it is to present your music professionally. Metadata is a big part of that. It’s the information that lives within your audio files and tells people exactly what they’re listening to, who owns it, and how to contact you.
If you get this part wrong, your chances of getting placed drop fast. Supervisors and editors don’t have time to guess what a track is or chase down missing info. They need to know exactly what they’re working with, and that starts with what’s embedded in your files.
What is metadata?
Metadata is simply the identifying info attached to your song. It can be embedded directly into the audio file or included in a spreadsheet or one-sheet when you submit your music. At a minimum, it should include your name, song title, email address, PRO affiliation, writer and publisher splits, genre, mood, tempo, and any relevant keywords.
Some people also include a short description of the track, especially in libraries. This might be one or two lines describing the vibe and where the track might be used. For example, “Uplifting indie rock with hopeful lyrics and a big anthemic chorus. Great for commercials or emotional sports montages.”
The easier you make it for someone to find and understand your music, the better your chances.
Why it matters
Let’s say a music supervisor hears your song, loves it, and downloads it to a folder for later. A few days pass, and they open the folder again. If your file is labeled “final_mix_v3.wav” and there’s no metadata attached, they might not even remember where the track came from or who to contact.
Now imagine they open the file and everything is embedded clearly. Your name, email, PRO, and description are right there. They don’t have to search for anything. That difference alone can make or break a placement.
How to add metadata
If you’re exporting MP3s, you can usually add metadata in your DAW or through apps like iTunes or Tag Editor. For WAV files, you can use tools like Soundminer, MetaBliss, or TagScanner.
Not every sync company requires metadata to be embedded directly into the file, but it’s smart to do it anyway. If you’re not sure how, at the very least send a metadata sheet with your submission. The more organized and prepared you are, the more professional you’ll come across.
Keep it consistent
Once you start creating multiple versions of your song, like instrumentals or alt mixes, make sure the metadata is consistent across all of them. This shows that you’re detail-oriented and helps avoid any confusion when your tracks are being reviewed for use.
Welcome back.
Today we’re going to talk about something that isn’t flashy but plays a critical role in music licensing: metadata.
If you’ve been following this course closely, you’ve already seen how important it is to present your music professionally. Metadata is a big part of that. It’s the information that lives within your audio files and tells people exactly what they’re listening to, who owns it, and how to contact you.
If you get this part wrong, your chances of getting placed drop fast. Supervisors and editors don’t have time to guess what a track is or chase down missing info. They need to know exactly what they’re working with, and that starts with what’s embedded in your files.
What is metadata?
Metadata is simply the identifying info attached to your song. It can be embedded directly into the audio file or included in a spreadsheet or one-sheet when you submit your music. At a minimum, it should include your name, song title, email address, PRO affiliation, writer and publisher splits, genre, mood, tempo, and any relevant keywords.
Some people also include a short description of the track, especially in libraries. This might be one or two lines describing the vibe and where the track might be used. For example, “Uplifting indie rock with hopeful lyrics and a big anthemic chorus. Great for commercials or emotional sports montages.”
The easier you make it for someone to find and understand your music, the better your chances.
Why it matters
Let’s say a music supervisor hears your song, loves it, and downloads it to a folder for later. A few days pass, and they open the folder again. If your file is labeled “final_mix_v3.wav” and there’s no metadata attached, they might not even remember where the track came from or who to contact.
Now imagine they open the file and everything is embedded clearly. Your name, email, PRO, and description are right there. They don’t have to search for anything. That difference alone can make or break a placement.
How to add metadata
If you’re exporting MP3s, you can usually add metadata in your DAW or through apps like iTunes or Tag Editor. For WAV files, you can use tools like Soundminer, MetaBliss, or TagScanner.
Not every sync company requires metadata to be embedded directly into the file, but it’s smart to do it anyway. If you’re not sure how, at the very least send a metadata sheet with your submission. The more organized and prepared you are, the more professional you’ll come across.
Keep it consistent
Once you start creating multiple versions of your song, like instrumentals or alt mixes, make sure the metadata is consistent across all of them. This shows that you’re detail-oriented and helps avoid any confusion when your tracks are being reviewed for use.
Related Video: Metadata And Your Tracks
Day 10 Lead:
Sing Song Music
About: https://singsongmusic.com/about/
Submit: https://singsongmusic.com/contact-us/
Contact: https://singsongmusic.com/contact-us/
Sing Song Music
About: https://singsongmusic.com/about/
Submit: https://singsongmusic.com/contact-us/
Contact: https://singsongmusic.com/contact-us/
DAY 11: How to Track and Manage Your Submissions
Welcome back.
Now that you’ve been learning how to prep and send your music, it’s time to talk about staying organized. This part might not sound exciting, but it’s one of the things that separates hobbyists from professionals.
Most musicians don’t track their submissions. They send out songs, forget who they contacted, and lose track of what they sent. Then months go by, someone replies, and they have no idea what the conversation was about. It happens more often than you’d think.
Keeping your sync efforts organized helps you avoid missed opportunities, stay consistent, and build a real foundation over time.
Create a simple submission log
You don’t need fancy software. A basic spreadsheet is enough. Set up columns for who you submitted to, the date, what song you sent, whether it was exclusive or non-exclusive, and whether you followed up. You can also include notes about the company, what genre they prefer, or any feedback you received.
This lets you stay on top of your efforts and keep a clear view of what’s working.
Know who you’ve pitched and when
The more music you submit, the harder it becomes to remember what you’ve already sent. A submission log keeps you from pitching the same track to the same company twice, which can make you look disorganized or unprofessional.
It also helps when someone responds months later asking to hear more. You’ll know exactly what you sent and can continue the conversation with confidence.
Follow up with purpose
When you have a system in place, your follow-up emails become easier and more focused. You can say something like, “Just following up on the track I sent a few weeks ago titled ‘Chasing Light.’ Let me know if it’s a fit for anything you’re working on.”
That’s a lot better than sending a vague message saying, “Just checking in.” Having that clarity puts you in a stronger position.
Patterns start to emerge
As you log more submissions, you’ll start to see what kinds of music get responses, which companies reply more often, and where your efforts are paying off. These patterns help you fine-tune your strategy and double down on what’s working.
Even if you only submit to a few places per week, logging those submissions keeps you moving forward with intention. Sync licensing is a long game, and the musicians who stay organized are usually the ones who stay in the game.
Welcome back.
Now that you’ve been learning how to prep and send your music, it’s time to talk about staying organized. This part might not sound exciting, but it’s one of the things that separates hobbyists from professionals.
Most musicians don’t track their submissions. They send out songs, forget who they contacted, and lose track of what they sent. Then months go by, someone replies, and they have no idea what the conversation was about. It happens more often than you’d think.
Keeping your sync efforts organized helps you avoid missed opportunities, stay consistent, and build a real foundation over time.
Create a simple submission log
You don’t need fancy software. A basic spreadsheet is enough. Set up columns for who you submitted to, the date, what song you sent, whether it was exclusive or non-exclusive, and whether you followed up. You can also include notes about the company, what genre they prefer, or any feedback you received.
This lets you stay on top of your efforts and keep a clear view of what’s working.
Know who you’ve pitched and when
The more music you submit, the harder it becomes to remember what you’ve already sent. A submission log keeps you from pitching the same track to the same company twice, which can make you look disorganized or unprofessional.
It also helps when someone responds months later asking to hear more. You’ll know exactly what you sent and can continue the conversation with confidence.
Follow up with purpose
When you have a system in place, your follow-up emails become easier and more focused. You can say something like, “Just following up on the track I sent a few weeks ago titled ‘Chasing Light.’ Let me know if it’s a fit for anything you’re working on.”
That’s a lot better than sending a vague message saying, “Just checking in.” Having that clarity puts you in a stronger position.
Patterns start to emerge
As you log more submissions, you’ll start to see what kinds of music get responses, which companies reply more often, and where your efforts are paying off. These patterns help you fine-tune your strategy and double down on what’s working.
Even if you only submit to a few places per week, logging those submissions keeps you moving forward with intention. Sync licensing is a long game, and the musicians who stay organized are usually the ones who stay in the game.
Related Resource: Submission Tracking Spreadsheet
| music_library_submission_tracking.xlsx |
Day 11 Lead:
Arts & Crafts Music Publishing
About: https://acpublishing.ca/
Submit: https://acpublishing.ca/contact/
Contact: https://acpublishing.ca/contact/
Arts & Crafts Music Publishing
About: https://acpublishing.ca/
Submit: https://acpublishing.ca/contact/
Contact: https://acpublishing.ca/contact/
DAY 12: How You Actually Get Paid from Sync Licensing
Welcome back.
Now that you’ve learned how to prep, submit, and track your music, let’s talk about the part everyone wants to understand. How do you actually get paid?
There are two main ways you earn money from sync licensing. The first is the upfront sync fee. The second is performance royalties.
The sync fee
This is the one-time payment you receive when a company or production licenses your song for a specific use. The amount can vary a lot. A placement on a major network show might pay thousands of dollars. A cable reality show might pay nothing or just a few hundred. A national commercial might pay tens of thousands. An indie film might only offer exposure.
The fee depends on the budget, how the song is used, how long it plays, whether there’s dialogue over it, and the size of the audience.
Sometimes the sync fee is split between multiple parties. For example, if you’re signed to a publisher or working with a library, they may take a percentage of the sync fee. That’s something to be aware of when signing agreements.
Performance royalties
These are paid by Performing Rights Organizations like ASCAP, BMI, or SESAC. When your music airs on TV, the network logs what was played and for how long. This information is submitted in a cue sheet, which is usually handled by the production company.
Cue sheets list all the music used in a program and who owns the rights. When the show airs, your PRO uses that data to calculate your royalties and pay you accordingly. These payments usually come a few months after the air date and can keep coming in for years if the show is syndicated or streamed on a global platform.
Make sure you're registered
To receive performance royalties, you need to be affiliated with a PRO. If you’re not already a member, sign up with ASCAP or BMI as a writer and, ideally, as your own publisher too. That way, you can collect both the writer and publisher shares of any royalties generated.
Stay on top of your catalog
Make sure all your registered songs include the correct title, writer splits, and publishing info. When you work with libraries or license your music directly, they’ll need your PRO info to ensure everything gets tracked properly.
This is one of those things you only need to set up once, but it makes all the difference in the long run. If you skip it, you could be leaving money on the table without even knowing it.
Welcome back.
Now that you’ve learned how to prep, submit, and track your music, let’s talk about the part everyone wants to understand. How do you actually get paid?
There are two main ways you earn money from sync licensing. The first is the upfront sync fee. The second is performance royalties.
The sync fee
This is the one-time payment you receive when a company or production licenses your song for a specific use. The amount can vary a lot. A placement on a major network show might pay thousands of dollars. A cable reality show might pay nothing or just a few hundred. A national commercial might pay tens of thousands. An indie film might only offer exposure.
The fee depends on the budget, how the song is used, how long it plays, whether there’s dialogue over it, and the size of the audience.
Sometimes the sync fee is split between multiple parties. For example, if you’re signed to a publisher or working with a library, they may take a percentage of the sync fee. That’s something to be aware of when signing agreements.
Performance royalties
These are paid by Performing Rights Organizations like ASCAP, BMI, or SESAC. When your music airs on TV, the network logs what was played and for how long. This information is submitted in a cue sheet, which is usually handled by the production company.
Cue sheets list all the music used in a program and who owns the rights. When the show airs, your PRO uses that data to calculate your royalties and pay you accordingly. These payments usually come a few months after the air date and can keep coming in for years if the show is syndicated or streamed on a global platform.
Make sure you're registered
To receive performance royalties, you need to be affiliated with a PRO. If you’re not already a member, sign up with ASCAP or BMI as a writer and, ideally, as your own publisher too. That way, you can collect both the writer and publisher shares of any royalties generated.
Stay on top of your catalog
Make sure all your registered songs include the correct title, writer splits, and publishing info. When you work with libraries or license your music directly, they’ll need your PRO info to ensure everything gets tracked properly.
This is one of those things you only need to set up once, but it makes all the difference in the long run. If you skip it, you could be leaving money on the table without even knowing it.
Day 12 Lead:
Today's Lead:
JPM Music Library
About: https://jpmusiclibrary.com/welcome-to-jpm/
Submit: https://jpmusiclibrary.com/contact-us/
Contact: https://jpmusiclibrary.com/contact-us/
Today's Lead:
JPM Music Library
About: https://jpmusiclibrary.com/welcome-to-jpm/
Submit: https://jpmusiclibrary.com/contact-us/
Contact: https://jpmusiclibrary.com/contact-us/
DAY 13: How to Handle Rejection, Silence, and Keep Going
Welcome back.
Let’s talk about something that doesn’t get discussed enough when it comes to sync licensing. Rejection. Silence. The waiting game.
You’ve spent hours writing and recording. You’ve done the research. You’ve crafted your pitch. You finally send your music out into the world. And then nothing happens. No reply. No feedback. Just silence.
It happens to everyone.
The truth is, most music supervisors and library owners are overwhelmed. Their inboxes are full. Their deadlines are tight. Sometimes they’re not even looking for new music when you reach out. Other times, your track just doesn’t fit a current need. It’s rarely personal.
And occasionally, yes, someone will actually say no. That can sting too.
But here’s what separates the people who succeed in sync from the ones who give up. They keep going. They don’t take rejection personally. They don’t let silence derail them. They show up again the next day and do the work. They write another song. They send another email. They stay focused on the long game.
Sync licensing is a marathon, not a sprint. A lot of the time, the people you pitch to will circle back weeks or even months later. One placement can come from a relationship that took years to develop. I’ve had tracks placed after sitting on someone’s hard drive for over a year.
You have to keep showing up. You have to build momentum. And you have to remember that this is a numbers game. Not everything you submit will get placed. But if you keep learning, improving, and staying consistent, the results will come.
So if you’ve already started submitting and you’re not hearing back, don’t let that stop you. If you haven’t submitted anything yet because you’re afraid of rejection, use this as a reminder to start.
Silence isn’t failure. It’s just part of the process.
Tomorrow, we’ll wrap things up with some final thoughts, a recap of what you’ve learned, and a few suggestions for where to go from here.
Talk soon,
Aaron
Welcome back.
Let’s talk about something that doesn’t get discussed enough when it comes to sync licensing. Rejection. Silence. The waiting game.
You’ve spent hours writing and recording. You’ve done the research. You’ve crafted your pitch. You finally send your music out into the world. And then nothing happens. No reply. No feedback. Just silence.
It happens to everyone.
The truth is, most music supervisors and library owners are overwhelmed. Their inboxes are full. Their deadlines are tight. Sometimes they’re not even looking for new music when you reach out. Other times, your track just doesn’t fit a current need. It’s rarely personal.
And occasionally, yes, someone will actually say no. That can sting too.
But here’s what separates the people who succeed in sync from the ones who give up. They keep going. They don’t take rejection personally. They don’t let silence derail them. They show up again the next day and do the work. They write another song. They send another email. They stay focused on the long game.
Sync licensing is a marathon, not a sprint. A lot of the time, the people you pitch to will circle back weeks or even months later. One placement can come from a relationship that took years to develop. I’ve had tracks placed after sitting on someone’s hard drive for over a year.
You have to keep showing up. You have to build momentum. And you have to remember that this is a numbers game. Not everything you submit will get placed. But if you keep learning, improving, and staying consistent, the results will come.
So if you’ve already started submitting and you’re not hearing back, don’t let that stop you. If you haven’t submitted anything yet because you’re afraid of rejection, use this as a reminder to start.
Silence isn’t failure. It’s just part of the process.
Tomorrow, we’ll wrap things up with some final thoughts, a recap of what you’ve learned, and a few suggestions for where to go from here.
Talk soon,
Aaron
Day 13
Today's Lead:
Lyric House
About: Contact — Lyric House
Submit: Contact — Lyric House
Contact: Contact — Lyric House
Today's Lead:
Lyric House
About: Contact — Lyric House
Submit: Contact — Lyric House
Contact: Contact — Lyric House
DAY 14: Wrapping It All Up and What to Do Next
You’ve made it to the final day of the course. If you’ve followed along this far, you now have a solid understanding of how music licensing works and what it takes to start seeing results.
Let’s take a moment to recap.
You’ve explored the history and foundation of sync licensing. You’ve learned how to organize your files, what types of songs work best, how to submit your music, and where to send it. You’ve looked at libraries, stock sites, metadata, royalties, rejection, and everything in between.
Now it’s time to keep going.
If you’ve taken small steps each day, you’re already ahead of the curve. Most musicians never even start. But the ones who succeed in sync are the ones who stick with it. Build your catalog. Keep researching new opportunities. Reach out. Submit. Follow up. Write more.
Many of the artists I’ve worked with started just like this. They learned the basics, put the pieces together, and stayed consistent. Over time, they started landing placements. It happens. But only if you keep moving.
If you’re ready to go deeper and want more personalized support, I’ve created a 90-day mentorship program called The Sync Tank. It starts on August 4 and includes 90 sync leads tailored specifically to your music, three private one-hour Zoom coaching sessions with me, and a lifetime membership to HTLYM Premium.
I’ll also personally help pitch your tracks, but only for the first five people who sign up.
If you join by July 27, you’ll save $100.00 off the full price of the program.
You can get all the details here:
https://www.htlympremium.com/sync_tank.html
Whether or not you decide to continue with me, I hope this course has helped you gain clarity, confidence, and a path forward. You’ve already taken the most important step by getting started.
This concludes Day 14. Thanks for being part of the journey. I hope to see you in The Sync Tank!
-Aaron
You’ve made it to the final day of the course. If you’ve followed along this far, you now have a solid understanding of how music licensing works and what it takes to start seeing results.
Let’s take a moment to recap.
You’ve explored the history and foundation of sync licensing. You’ve learned how to organize your files, what types of songs work best, how to submit your music, and where to send it. You’ve looked at libraries, stock sites, metadata, royalties, rejection, and everything in between.
Now it’s time to keep going.
If you’ve taken small steps each day, you’re already ahead of the curve. Most musicians never even start. But the ones who succeed in sync are the ones who stick with it. Build your catalog. Keep researching new opportunities. Reach out. Submit. Follow up. Write more.
Many of the artists I’ve worked with started just like this. They learned the basics, put the pieces together, and stayed consistent. Over time, they started landing placements. It happens. But only if you keep moving.
If you’re ready to go deeper and want more personalized support, I’ve created a 90-day mentorship program called The Sync Tank. It starts on August 4 and includes 90 sync leads tailored specifically to your music, three private one-hour Zoom coaching sessions with me, and a lifetime membership to HTLYM Premium.
I’ll also personally help pitch your tracks, but only for the first five people who sign up.
If you join by July 27, you’ll save $100.00 off the full price of the program.
You can get all the details here:
https://www.htlympremium.com/sync_tank.html
Whether or not you decide to continue with me, I hope this course has helped you gain clarity, confidence, and a path forward. You’ve already taken the most important step by getting started.
This concludes Day 14. Thanks for being part of the journey. I hope to see you in The Sync Tank!
-Aaron
Day 14
Today's Lead:
The Diner
About: The Diner Music
Submit: Contact Us – The Diner Music
Contact: Contact Us – The Diner Music
Today's Lead:
The Diner
About: The Diner Music
Submit: Contact Us – The Diner Music
Contact: Contact Us – The Diner Music