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Song Lyrics - If your song has lyrics be sure to have those available as well.ĥ. For a detailed guide, check out our metadata cheat sheet here.Ĥ. You should also include specific info about the song including Genre, Similar Artists, Lyric Theme, Explicit/Clean Lyric, Mood/Feel, the Song Tempo, and Instrumentation.
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Metadata would include among other things, your contact information, PRO affiliation, Co-writers, and Publisher information. Metadata - Always include the Metadata with your MP3 files. WAV files are large so music supervisors prefer MP3s and will ask for WAV files only if they are interested in licensing the song.ģ. Music supervisors look for well-crafted songs that are professionally recorded, mixed, and mastered.Ģ. Song Production - Only submit songs that are Broadcast Quality. The information you provide will make it easier for the music supervisor to find your song if it fits the criteria they are looking for.ġ.
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Here are a few tips on how to properly prepare your music for sync placements. Tips On Preparing Your Music for Sync Licensing
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For a full rundown of what you need to do to legally release a cover song, check out our cover song guide here. Keep in mind though, that the music supervisor would still need to clear the song with the original publisher and/or songwriters who may or may not agree to grant the composition rights for the project. There are times when the original artist recordings are beyond a project’s budget so the music supervisor might look for a cover version like yours. Even though you wouldn’t own the publishing on the song, you would own the master recording. Yes, you can submit cover songs for sync licensing. That said, the music you submit must be “Broadcast Quality.” That simply means the song must be properly recorded, mixed, and mastered so that it sounds professional.

Sync Licensing & Residual IncomeĪs the song owner, you can also earn passive income after your sync placement.Īll types of music, in all genres, can be used for sync licensing. For example, a well-known artist will command a higher sync fee than a song from an independent artist or unknown songwriter.Īs well, if only a few seconds of the song are used, the fee will be considerably less than if the whole song is used for a montage or as the theme song for the entire project. Sync fees are not only affected by the project's budget. Lucrative Budgets Over $100,000 – Larger budget films and large advertising campaigns. Larger Budgets Under $100,000 – Some TV, commercials, and large budget films. Medium Budgets “$1000 - $5000” - Network TV, video games, and some lower budget films. If you are new to sync, this can be a great way to break into the world of sync licensing. Small Budgets “$0 - $1000” - The budgets for indie films, reality shows, and documentaries are generally smaller, and in some cases, you may be asked to grant permission pro bono. It will also be different for how much of the song was used in each scene. The fee amount will vary a lot depending on where, when, and how the song was used. That means you would collect both sync fees upfront since you are the owner of the composition and the master. If you are not signed to a label and don’t have a publisher, and you wrote the song and paid for the recording yourself, you have the exclusive right to grant permission. This could be the artist, the songwriter, or the label if there is a label involved.

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Music Master License Fee – The master recording fee is paid to whoever owns the “master”. The Sync License Fee – This is the song composition fee, which is paid for the right to use the composition itself (lyrics and melody).Ģ. Sync placement generally involves two types of fees:ġ.

Music supervisors are given a budget for each project so all the music that they license must fit within that budget.īefore your music can be used in any visual media, the music supervisor will negotiate the sync licensing fee with you.

Music supervisors are also in charge of managing all the paperwork including the credits, cue sheets, and royalty reports for the project. They work directly with the project’s producers, directors, and editors until the ideal music is chosen while staying within the budget. Music supervisors manage the project’s entire music budget so they must choose and pitch only the very best songs that will serve each scene.
