In general, I'm not a big proponent of signing away the exclusive rights to your music to music publishers and libraries, as some publishers and libraries require the writers they work with do. Although I’ve done these types of deals a
handful of times over the years, in general I’m more attracted to deals where you retain the ability to shop your tracks around through multiple agencies.
Unless there's some sort of upfront money involved, it just doesn't make much sense in my mind to roll the dice with your tracks. Since there is no guarantee when it comes to whether or not any
particular track is going to get placed, unless I feel really, really strongly that my tracks are going to get placed, it just feels like to big of a risk at this point. The last thing I want is for the tracks that I’ve spent my hard earned money and a lot of effort on, sitting with someone exclusively for years, not generating any revenue. Which is always a possibility when you sign exclusive deals.
However, with that said, there’s also a downside to spreading yourself too thin and aligning with too many libraries/publishers, that is important to be aware of. For one, if your tracks are being pitched to the same project multiple times, through different non-exclusive publishers and libraries, it can sometimes rub supervisors the wrong way. In their eyes, if your music is that easy to get and can be found anywhere and everywhere, it
creates a perception that your music isn’t as valuable.
It also gives the publisher or library you’re working with very little leverage in getting your music placed. If a supervisor can get your track from 20 different places, why should they get it from one place vs. another? It also makes it harder for agencies you work with to negotiate
really lucrative deals. This is especially true if you’re placing your music in stock music libraries or “royalty free” libraries.
The head of a major sync agency that I interviewed for my podcast recently told me a story that illustrated the problem of being in multiple libraries. This particular agent secured a really lucrative spot in a car
commercial for one of the artists she represented. This particular artist had assured her that they weren’t in any other libraries or with any other agencies and they agreed to sign with her exclusively.
However, unbeknownst to this agency, this band was in fact with multiple different libraries, including some that licensed music very cheaply.
After landing this band a really high end car commercial, the ad agency that created the ad found out their music was in fact with multiple different libraries, some of which were selling the exact same song they used for much, much cheaper. The ad agency was infuriated, the sync agency’s reputation was jeopardized, a lawsuit ensued and the band ended up losing the deal. It was a bad situation for everyone involved. All because one of the band members was dishonest about who
they were working with and because they had chosen to spread themselves too thin.
There isn’t really a perfect approach to licensing your music. This isn’t an exact science and there’s an element of timing and luck involved. But, be strategic and think carefully about which companies you work with and the type of deals you sign. Don’t sign any
deals that are in conflict with each other. And whatever you do, be totally honest and upfront with people you’re working with. The last thing you want to do is jeopardize relationships that you worked hard to form.
If you are working multiple agencies or libraries, make sure everyone is cool with that. Find out what type of clients
agencies you sign with are going to be pitching your tracks to. Work towards creating strategic partnerships that benefit everyone involved. Above all, always be ethical and honest with everyone you’re working with.
And, if you're going to go the route of signing multiple, non-exclusive deals, make sure all the companies involved are comparable
in terms of the types of placements they are pursuing. In other words, don't sign a track to a boutique sync licensing agency that is going after high end ad campaigns and then turn around and sign the exact same track to a company that is going to use your track as a part of a blanket licensing deal for your music to be played in the background music of a retail store, for essentially no money, or very little money. Be consistent in terms of the types of deals you are
signing.
