2 Artists Decide Which Path To Take In Sync Licensing [Consultation Call]

[@AndrewThiriot]

Thanks Jesse and Christina and Sonic. This was very helful.

[@LaGrungeMusic]

That's the healthiest beard I've seen so far. Well done.

[@djgonz123]

Not just killin it with great info but the beard is on point.Happy new year Jesse.

[@SyncMyMusic]

lol thanks Jonathan!

[@hookmusicproducer]

Hey Jesse, at this point you are like NEO in the Matrix. I mean you REALLY know how to get massive amounts of info out in a way quickly that covers absolute beginners to immediates and pros alike. Not only a service to this industry, but your also just a great interviewer on top of it all. So this subject of artist vs library sync work has been nagging at me since I started with Sync Academy. I LOVE producing music in my studio and understand the importance of the back end on these deals/royalties to sustain a life of making money with my passion, but i also have opportunities on the table as an artist -and quite honestly sometimes those 2 can muddy things up for each other. However, with sync60 type directives and new info to me about sync agents, (which i previously thought was a dirty word until you shed light here and at that conference with Mark) has given me even more clarity. Again , every time I think ive got something covered here, another useful nugget is gained through your platform and system. Bravo & keep up the great work!

[@WuwuTheGuru]

Great video!! ❤️

[@mochifreeman6648]

Forgive for being off topic, but how many songs should make up an album? 8? 6? 10? 12? Anyone that knows, please help. Thanks 🙂

[@SyncMyMusic]

10-12 is the norm for the licensing business.

[@mochifreeman6648]

@@SyncMyMusic many thanks 🙂

[@DemitheDaredevil]

If you happen to see this, one of the libraries Ive signed with is Crucial music which youve mentioned on your library database pdf. They say they dont technically retitle, but it seems they do. Im assuming you left them on your pdf because they have legitimate contacts, and they are one of the companies you might "bite the bullet" for because of this? thanks for your time Jesse

[@SyncMyMusic]

The Directory includes all kinds of Libraries with all kinds of deal structures - you need to evaluate each deal offered for yourself to see if it's right for you.

[@itsrelativ3967]

What kind of license/contract is used between the composer and library if your instrumental album is already on Spotify and other music selling platforms? Better off just submitting my newer unreleased music? I know you've been asked this question hundreds of times but once I join your program this Thursday I'm going to be very serious because I procrastinated signing up all last year.

[@DJSTOEK]

Awesome

[@SyncMyMusic]

Glad it helped!

[@Soundnautic]

Can you remix and change instruments of your main catalogue music then retitle it and release it as exclusive on a second catalogue under a different producer name. They might sound the same but reproduced to be more licensable either using more hooks and edited for faster changes. I just have a lot of completed music I love that I would like to retain the rights to in my publishing company but I could change them a bit and release those as exclusive to a library under a different producer name. How would you go about that? Thank you, Jesse.

[@SyncMyMusic]

You'd be flirting with legal danger. I wouldn't do it. To be 100% safe, just create all new music for an all new exclusive contract.

[@Soundnautic]

@@SyncMyMusic But wouldn't I be the danger since I own the original music? Either way, thank you for your reply, this will push me to finish new music. Thanks.

[@SyncMyMusic]

@@Soundnautic when you sign an exclusive agreement , but send music that's "sort of" released in other outlets (remixing your original music) you're at risk of a breach of contract.