The most important tips and tricks I've ever encountered in this biz. Good to know these facts before playing with fire in full ignorance. Thanks, Jesse !!! This video is very important guys, pay attention. Wow
Great and thorough! 😊Thank you for explaining it in an easy and digestible way for people to understand. I will definitely be sharing your video when I teach people about this business.
Your content, professionalism and consistency is absolutely amazing. You are helping me in so many ways. Have a blessed Thanksgiving sir. I’m thankful for you Jesse.
I think it also is different when you have an existing track on spotify and a music director approaches you for an exclusive license for a series. You still can withdraw that one track from any platform. Usually tales a week or two...
when i go to another non exclusive library where i have to change the name of the tracks.. do i have to create the new PRO ISWC codes, etc? Or do they keep some of the publishing do they do it on their new library? hope that makes sense
Question: when you write a track and it is exclusive for a library. Can you make a new version of it with the same foundation and change various instruments on top so it sounds a bit different and use that again for another library and re ename it?
So with retitling, do you re-register the song with the new title to your PRO’s like BMI/ASCAP/Songtrust etc? Also, is there a way to find these licensing companies? I know of Broadjam and Taxi and they both require fees. I was under the impression you had to use these “middle-men” because otherwise your music is unsolicited and they can’t listen to it.
Yes, for a retitle you would create new registrations with the PROs (as if they were new songs). And yes you can skip the middle man services and find these companies on your own: th-cam.com/video/GbIdQP3sxLs/w-d-xo.html
Thanks for a thorough explanation of a subject. I would like to ask do you still have to re-title your track if you only upload it to non-exclusive royalty free/stock libraries and a track is not registered with PRO?
Question. So I'm currently with a non-exclusive music library (We'll call this Library A), and I want to send my music over to another non-exclusive music library as well (Library B). However, my concern is that music Library A is registering my tracks through TH-cam Content ID, which might cause issues for music Library B, to use those same tracks. So is there a way for me to have my music on both of these libraries without TH-cam Content ID for Library A, flagging Music Library B for having the same music? I really appreciate your help with these videos man!
This is why non-exclusive companies are starting to crumble. Their business model just causes a lot of problems in the modern digital age. You could certainly tell Library B NOT to put the tracks into TH-cam Content ID, but I doubt they'll be willing to do that.
@@SyncMyMusic Thank you for the response! It definitely didn't make sense to me as to why they would do this, but yet claim to be non-exclusive. It completely contradicts everything about being non-exclusive lol. I will ask if it's possible to be removed from it and see what happens. Smh
Thanks for all the great info! Should I retitle my tracks if they are in royalty free non exclusive libraries and also libraries like songtrader, pond 5 and Getty music? Thanks
This was really useful, thank you! I am a student doing a degree in music so obviously don't have as much time as others might to dedicate to producing and uploading tracks - would you say there is a particular difference in how time flexible (time-wise) working for non-exclusive vs exclusive libraries is?
Definitely. Non-exclusive has really no time requirements since they usually don't create very close reliable relationships with their composers. It's the exclusive Libraries that really depend upon you to deliver consistently.
Thanks so much Jesse! Really great insights!! I’ll make my question quick. Does retitling mainly happen when libraries or agencies are taking publishing splits? Or can they rep your catalog non exclusively without taking any publishing royalties?
Non-exclusive deals can include publishing splits or not (sometimes they ONLY take a portion of the up-front Sync Fee). But ALL non-exclusive opportunties will deal with re-titling for the simple fact that the same track may be found in multiple Libraries (so it keeps the registration & royalty distribution issues sorted out appropriately).
@@SyncMyMusic Hmm very interesting. I have a song being repped by a very reputable boutique agency who's been placing songs with big brands for years and they do not retitle. Their single song agreements are non-exclusive as well. They just collect on the upfront sync fee (all in). I could see why retitling might be necessary for backend splits but wasn't sure why it'd be needed if they're only collecting upfront sync fees.
![How To Get Your Music On TV! [Sync Licensing Tutorial]](http://i.ytimg.com/vi/z24QeIrFoYs/mqdefault.jpg)
![How To Get Your Music On TV! [Sync Licensing Tutorial]](/img/tr.png)
![Which Genre Should You Specialize In For Sync Licensing? [Sync Academy Tutorial]](http://i.ytimg.com/vi/y_A1fMdLJ0U/mqdefault.jpg)
The most important tips and tricks I've ever encountered in this biz. Good to know these facts before playing with fire in full ignorance.
Thanks, Jesse !!! This video is very important guys, pay attention. Wow
Thanks!
I appreciate you making this video, this is a very complicated world.
Glad to help!
Great and thorough! 😊Thank you for explaining it in an easy and digestible way for people to understand. I will definitely be sharing your video when I teach people about this business.
Glad it was helpful!
Thank you, that was really helpful.
Your content, professionalism and consistency is absolutely amazing. You are helping me in so many ways. Have a blessed Thanksgiving sir. I’m thankful for you Jesse.
I think it also is different when you have an existing track on spotify and a music director approaches you for an exclusive license for a series. You still can withdraw that one track from any platform. Usually tales a week or two...
Thank you! A great presentation!!! Love your videos! 👍
This is exactly what I needed to hear at this turning point in my career. Thankyou.
Glad to help Keith!
Thank you, Jesse! I'm learning so much from your content and also being part of Sync Academy!
Glad to hear that!
Had to rewatch this. Any insight with regards to making trailer music specifically?
You gotta have top notch music and if you want to do Trailer music then it should be your 100% focus. I don't recommend just dabbling in it.
@@SyncMyMusic Yep. On it. 🙂 Album dropping this week.
So pretty much you are saying I shouldn’t go through Tunecore or like CD Baby in this aspect correct?
Super informative, thanks!
Wow. What a comprehensive overview. So helpful - thank you Jesse.
You got it Allan!
when i go to another non exclusive library where i have to change the name of the tracks.. do i have to create the new PRO ISWC codes, etc? Or do they keep some of the publishing do they do it on their new library? hope that makes sense
Question: when you write a track and it is exclusive for a library. Can you make a new version of it with the same foundation and change various instruments on top so it sounds a bit different and use that again for another library and re ename it?
You'd be playing with fire. My advice - just create all new tracks for an all new Exclusive agreement.
Thank you so much for all of the great information that you provide. Support! Cheers!
You always have good info....Thanks for explaining this very well....
You're welcome!
ur a legend thank you for this golden advice
Amazing content my man. Any E Labs or NE Labs you'd recommend to work with?
th-cam.com/video/GbIdQP3sxLs/w-d-xo.html
So with retitling, do you re-register the song with the new title to your PRO’s like BMI/ASCAP/Songtrust etc? Also, is there a way to find these licensing companies? I know of Broadjam and Taxi and they both require fees. I was under the impression you had to use these “middle-men” because otherwise your music is unsolicited and they can’t listen to it.
Yes, for a retitle you would create new registrations with the PROs (as if they were new songs). And yes you can skip the middle man services and find these companies on your own: th-cam.com/video/GbIdQP3sxLs/w-d-xo.html
Great informations, thank you!
Excellent information. Thank you!
Thanks for a thorough explanation of a subject. I would like to ask do you still have to re-title your track if you only upload it to non-exclusive royalty free/stock libraries and a track is not registered with PRO?
It would still be a smart move so you know which company is actually getting you the sales/placements.
Great video. Appreciate it!
Question. So I'm currently with a non-exclusive music library (We'll call this Library A), and I want to send my music over to another non-exclusive music library as well (Library B). However, my concern is that music Library A is registering my tracks through TH-cam Content ID, which might cause issues for music Library B, to use those same tracks.
So is there a way for me to have my music on both of these libraries without TH-cam Content ID for Library A, flagging Music Library B for having the same music?
I really appreciate your help with these videos man!
This is why non-exclusive companies are starting to crumble. Their business model just causes a lot of problems in the modern digital age. You could certainly tell Library B NOT to put the tracks into TH-cam Content ID, but I doubt they'll be willing to do that.
@@SyncMyMusic Thank you for the response! It definitely didn't make sense to me as to why they would do this, but yet claim to be non-exclusive. It completely contradicts everything about being non-exclusive lol. I will ask if it's possible to be removed from it and see what happens. Smh
Thank you this video Jesse!
Thanks for all the great info! Should I retitle my tracks if they are in royalty free non exclusive libraries and also libraries like songtrader, pond 5 and Getty music?
Thanks
Yes, any multiple non-exclusively distributed tracks needs to be retitled.
Ok, thanks
Thanks for the great advice this was so good!!
Glad to help!
This was really useful, thank you! I am a student doing a degree in music so obviously don't have as much time as others might to dedicate to producing and uploading tracks - would you say there is a particular difference in how time flexible (time-wise) working for non-exclusive vs exclusive libraries is?
Definitely. Non-exclusive has really no time requirements since they usually don't create very close reliable relationships with their composers. It's the exclusive Libraries that really depend upon you to deliver consistently.
Thanks so much Jesse! Really great insights!! I’ll make my question quick. Does retitling mainly happen when libraries or agencies are taking publishing splits? Or can they rep your catalog non exclusively without taking any publishing royalties?
Non-exclusive deals can include publishing splits or not (sometimes they ONLY take a portion of the up-front Sync Fee). But ALL non-exclusive opportunties will deal with re-titling for the simple fact that the same track may be found in multiple Libraries (so it keeps the registration & royalty distribution issues sorted out appropriately).
@@SyncMyMusic Hmm very interesting. I have a song being repped by a very reputable boutique agency who's been placing songs with big brands for years and they do not retitle. Their single song agreements are non-exclusive as well. They just collect on the upfront sync fee (all in). I could see why retitling might be necessary for backend splits but wasn't sure why it'd be needed if they're only collecting upfront sync fees.
Hey Jesse...someplace I can email you?
Yep. jesse@syncmymusic.com
Appreciate your vid.
Glad it helped!
Very helpful sir, thank you!
Ahhhhhhh I really thought that exclusive was for the person and not individual track
Glad you're clear on that now.
👀👀