How Many Tracks For Full-Time Income w/ Sync? 

Hey Jesse! I'm one of those watching and never interacting individuals you mentioned. A friend of mine who you might even be aware of has been pushing me into this opportunity. I listen to your videos while i drive to and from my gigs, create tracks on my free time, and have him give me feedback. I've already contacted my first library and am still working on this craft while I await their response. Usually I obviously can't interact since I'm using your videos more like podcasts in my car. But I do want to thank you for this knowledge and know it is being put to use!

After watching this video, it confirms even more that a pro seasoned composer once said: 'its the business mindset and marketing yourself to succeed in the sync world. Talent is not the most important thing here'

Great advice! I have a library that is doing exactly that with me. I feel like I'm a friend which gives me confidence!!

Thanks for this video! Gave me a better perspective of what to focus on in this business

Solid advice, thank you Jesse

As a Newb to Syncs and as daunting as it is - it’s great to get an authentic perspective on it. So I’m keen discover the best way forward 🙏

Always dropping gemz

great insight thank you for sharing

Great point and it's helpful to to de-mystify and make sure we know what to expect. Some people out there are saying it's quantity over quality!! don't fall for it people!!

“Relationships” key word, thanks Jesse.

Big up, sir🙌

One of the issues with the sync industry for new composers is that they can often be desperate for validation or acceptance early in their journey, and they will give music to a library regardless of that library's track record or placement history. It's about finding libraries that are getting placements today, as well as have a high quality bar. This ensures that their catalogs are respected by editors and supervisors, versus being perceived as massive dumpsters of average music. However, quantity does indeed matter (along with quality). Large sync fees are very rare, you clearly stated this around 7:20 in the video... "Tortiose vs. Hare." You need to plant a lot of seeds with quality libraries for your musical garden to grow.

Most probably what most people mean to ask you is: how many successful tracks do you need to amount to a part-time and/or full-time paycheck? Or, to put it differently, how much money does a successful track make on average? Well done for this channel - I follow you from time to time even though unfortunately my full time job and family commitments do not permit me to have the time to work on music as much as I used to have in the past.

Awesome info, Jesse! Let's say you compose Dramedy-style music... is it better to work with a single library and request what they need, or to find a place for all your music in different libraries?

Hello! I just got into sync licensing and I watch all your videos. I’d like to ask, Are you familiar with this music library , Tunedge? F😅

I have to admit, I never called my library. My thinking is to not bother them. I'm busy, but they seem really busy. They send out calls for custom jobs, and I try to help as much as I can. They also have a section for composers on the roster that I check about once a month. I email them occasionally. I keep those messages short, like a sentence or two. I'm quick and to the point. You make a good point, I should call them and see if they need straight-up orchestral. I'm starting to get into that. What do you think? I know they need adventure orchestral, but I wonder if they need other orchestral.

These days? 3000 average tracks in TV licensing libraries. Or 300 amazing tracks with the best publishers.

For most- getting that foot in the door is the hardest part. How would I know what a library needs or lacks?? Why would they talk to someone they don’t know???

Jesse, I made a track using a reference, but when I finished the track I realized that it might be sonically too similar to the reference... Like main melody is different but stylistically like rhythm and used instruments are very similar, do you think it might cause problems if the tack ever gets placed?

Hey Jesse, thanks so much for the info as always! Quick question, do you mind sharing any insight about libraries only dealing with backend royalties? Is that common? In my experience, my placements that I’ve gotten have neglected to pay out the upfront sync fee, and when I respectfully questioned them, they told me that they predominantly only deal with the backend, and after talking to some coproducers, ive been told how common it is to not receive any upfront fee. I guess it all depends on the library? Thanks for what you do man 🙏🏼

There are SO many genres of music and if lo-fi is not the style used for sync licensing, then what style is the style used for sync licensing? What style tracks should I create?

Tell me if I'm wrong but I think this has got to be the toughest part of this biz...trying to interpret what to send to a particular library that you have not only researched, and have had a conversation with...but to try and figure what the music supervisor is going to want for whats hip this season?...{of course keeping in mind you have never even seen the show yet}

Hello! I just got into sync licensing and I watch all your videos. I’d like to ask, Are you familiar with this music library , Tunedge?

When you make music for sync, do they have to be full songs with vocals, instrumentals, or just beats? How does it work?

Would you say it s a good strategy to submit one album to one library and find another one to submit a new album to compare who s more efficient after a year?

Great info as always! Question - For those of us making the transition from writing full length songs in a band for streaming service to this, How long should tracks be (on average) for tv/film placement? Thanks!

Wow the cereal ad story is crazy. Which library was that?

Shoutout to Tool! 😀

Full income from one album 🤔