The world of Sync

With
Jay MistryJay Mistry explains sync, the commercial marriage of music to moving images, and how licensing works, plus where MCPS and library music fit in.
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 lesson11:19

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 here8:23

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

01. Interview with Ollie Raphael - Delicious Digital & working with Radio
11:38

02. Interview with Dan Mallender (Phase Music) - Music, promos & trailers for TV, Radio, Film, Gaming industries
16:04

03. Interview with Rachel Menzies - Music Supervision
11:19

04. Interview with Richard Ford (Anger Music) - Working with composers
16:23

05. Interview with Stuart Belsham - Discover PRS
37:15

06. Interview with Alessio Nanni (via Skype) - Pianist & Composer
15:02

07. Interview with Rob Manning (via Skype) - Film & TV Composer
15:23

08. Interview with Xiaotian Shi (via Skype) - Film & TV Composer
18:40
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.
21 lessons
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Meet your guru

Meet your guru
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.












