Lesson 9 of 21Music BusinessIntermediate

The world of Sync

8:23

Jay Mistry explains sync, the commercial marriage of music to moving images, and how licensing works, plus where MCPS and library music fit in.

Part of the courseA Guide To Music Publishing And Synchronization21 lessons (4h 21m)

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Jay MistryYour guruJay Mistry

What's in the course

21 lessons (4h 21m) · 1 free
    • 01. Introduction with Harry Leckstein and Jay Mistry

      11:37

    • 02. A short history of Publishing

      6:10

    • 03. Copyright (types of rights) & Royalties

      Free lesson

      11:19

    • 04. Advice for artists - getting paid & working with publishers

      15:35

    • 05. Advances, exclusivity & types of publishing deals

      14:27

    • 06. Getting started on your own

      3:01

    • 07. The Games market

      2:55

    • 08. Understanding Publishing Contracts

      11:51

    • 09. The world of Sync

      You are here

      8:23

    • 10. Sonic branding & what is a brief. Case study - Ollie Raphael

      3:54

    • 11. Sync jargon decrypter & myth-buster

      8:38

    • 12. Understanding roles within TV & Film industry

      11:43

    • 13. Final words of advice

      9:43

Lesson transcript

Understanding Sync and Licensing in Music

Definition of Sync

Synchronization, or sync, is essentially the commercial marriage of music to moving images.

Licensing Explained

Licensing, on the other hand, encompasses various scenarios:

  • Within a record company: Licensing a song for a compilation.
  • TV programs or films: The use of a song in different media.

In essence, licensing is the legal process you go through to allow someone to use your music in another context.

Commercial and Ethical Considerations

When discussing sync, we also need to consider:

  • Commercial considerations: How your music will be used and associated.
  • Ethical considerations: Some artists may have specific brands they prefer not to be associated with.

Quote: "In publishing contracts, you often find clauses that allow you to specify certain brands you don't want to sync your music with."

Syncing and Library Music

Differences Between Commercial Tracks and Library Music

  • Commercial tracks are existing recordings licensed for use in various projects.
  • Library music is specially composed for TV, film, or media, making it readily available for sync.

Instrumental vs. Vocal Music

What Percentage is Synced?

  • Approximately 80% of synced music is instrumental.
  • About 20% is vocal.

Typically, themes in media may include vocals for interest, but background music, especially during dialogue, tends to be instrumental to avoid distraction.

Composing for the Sync Market

Getting Started

To showcase your work in the sync market:

  • Research briefs: Some websites offer opportunities to submit compositions.
  • Write to existing footage: Use film or trailer clips to create original music without listening to existing scores.

Tip: Always credit your work appropriately, and if you showcase music and visuals together, ensure you have permission if you intend to monetize it.

Collaboration with Film Schools

Reaching out to film schools is a great way to find opportunities:

  • Team up with students working on short films to create original scores.

Balance Between MCPS and Library Music

Understanding Royalties

In the UK:

  • Joining MCPS (Mechanical-Copyright Protection Society) provides access to a network of broadcasters.
  • If you're part of MCPS, you're bound by their rate card, which means you cannot negotiate your own rates.

Criteria for Being a Library:

  • Typically requires a minimum of around 30 tracks.

Publishers and Libraries

An individual can function as a library by joining as a publisher, but:

  • Being a non-MCPS member allows you to negotiate your fees directly with networks, though it may require significant effort.

Broadcaster Preferences

From a broadcaster's perspective:

  • They tend to prefer MCPS libraries due to the streamlined negotiation process and the efficiency it offers in selecting music.

Closing Thought: It ultimately hinges on the desirability of your music. If it's in high demand, broader negotiations may take place, but MCPS offers a simpler solution for many broadcasters.

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Meet your guru

Jay Mistry

Jay Mistry

Jay Mistry is a music industry veteran of 30 years and is fluent in most aspects of the music business.

Jay began his career at the Performing Right Society before joining BMG Music Publishing, where he was asked to set up the income tracking department from scratch. In 2003, he incorporated Musical Sleuth Ltd, the first independent royalty tracking service of its kind, which counted clients such as Eric Clapton and The Beatles.

Having mastered the intricacies of copyright and royalties, Jay was asked to become Director of Music Services at The Discovery Channel in 2009. His success at Discovery led New York entrepreneurs Jingle Punks to bring him in to set up and stabilise their US publishing operation while building their global collection network. Jay currently consults for a range of high-end composers, music libraries, film producers, publishers and tech platforms.

In A Guide To Music Publishing And Synchronization, Jay distils three decades on the inside of the business into clear, practical guidance, showing you how publishing, copyright, royalties and sync deals really work - and how to make them work for you.

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