Music Licensing Guide for Bands 2025

Understanding music licensing is crucial for protecting your rights and earning revenue. This comprehensive guide covers all types of music licenses, how to get licensing deals, and how to protect your work.

Types of Music Licenses

1. Performance Rights

What It Is: The right to perform music publicly, including:

• Live performances
• Radio broadcasts
• Streaming services
• TV and film
• Restaurants and venues
• Background music in businesses

Who Collects: Performance Rights Organizations (PROs):

• ASCAP (ascap.com)
• BMI (bmi.com)
• SESAC (sesac.com)
• GMR (gmrights.com)

How It Works:

• Join a PRO (free for songwriters)
• Register your songs
• PRO collects royalties when your music is performed
• You receive quarterly payments

Revenue Potential:

• Varies widely
• Radio play: $0.01-0.10 per play
• Streaming: Fraction of a cent per stream
• TV/Film: $50-5,000+ per use
• Live venues: Collected from venue, distributed to writers

Action Steps:

1. Join a PRO (choose one)
2. Register all original songs
3. Keep detailed records
4. Update when you have co-writers
5. Check statements regularly

2. Mechanical Rights

What It Is: The right to reproduce and distribute music, including:

• Physical sales (CDs, vinyl)
• Digital downloads
• Streaming (mechanical portion)
• Cover versions

Who Collects:

• Harry Fox Agency (US)
• Mechanical Licensing Collective (MLC)
• Your distributor (for your own music)
• Direct licensing for covers

How It Works:

• Statutory rate set by law
• Currently $0.124 per song (under 5 minutes)
• Paid by whoever manufactures/distributes
• Collected and distributed to songwriters/publishers

Revenue Potential:

• $0.124 per physical sale
• $0.091 per download
• Streaming: ~$0.006-0.0084 per stream (mechanical portion)

Action Steps:

1. Register with MLC (free)
2. Claim your songs
3. Get mechanical licenses for covers
4. Track all releases
5. Collect royalties

3. Synchronization (Sync) Rights

What It Is: The right to synchronize music with visual media:

• TV shows
• Films
• Commercials
• Video games
• YouTube videos
• Corporate videos
• Trailers

Who Negotiates:

• You (if independent)
• Your publisher
• Sync licensing companies
• Music supervisors

How It Works:

• Negotiated on case-by-case basis
• Requires both master and publishing rights
• One-time fee typically
• May include performance royalties

Revenue Potential:

• Indie film: $500-5,000
• Network TV: $1,000-15,000
• Major film: $10,000-100,000+
• Commercial: $25,000-500,000+
• Video game: $2,500-50,000+

Action Steps:

1. Own your masters
2. Register with sync libraries
3. Create instrumental versions
4. Tag music properly
5. Build relationships with supervisors

4. Master Rights

What It Is: Ownership of the actual recording (the "master"):

• Who can distribute it
• Who can license it
• Who receives recording royalties

Who Owns:

• Whoever paid for the recording
• Usually the artist (if independent)
• Record label (if signed)

How It Works:

• Separate from songwriting rights
• Required for sync licensing
• Generates neighboring rights royalties
• Can be sold or licensed

Revenue Potential:

• Streaming: ~$0.003-0.005 per stream
• Sync licensing: 50% of sync fee
• Sales: Majority of revenue

Action Steps:

1. Own your masters if possible
2. Register with SoundExchange
3. Keep master recordings safe
4. License strategically
5. Never give up masters without good reason

5. Print Rights

What It Is: The right to print and distribute sheet music, lyrics, and tablature.

Who Handles:

• Print publishers
• Self-publishing
• Licensing services

Revenue Potential:

• Generally small
• Sheet music sales
• Lyric licensing
• Tablature books

Action Steps:

• Less critical for most bands
• Consider if you have complex arrangements
• Protect lyrics from unauthorized use

Performance Rights Organizations (PROs)

ASCAP

Type: Membership organization Cost: Free for songwriters Payment: Quarterly

Pros:

• Largest US PRO
• Strong advocacy
• Good international collection
• Member benefits
• Voting rights

Cons:

• Can be bureaucratic
• Payment delays
• Complex statements

Best For: Most songwriters

Website: ascap.com

BMI

Type: For-profit organization Cost: Free for songwriters Payment: Quarterly

Pros:

• Large repertoire
• Good technology
• Strong international
• Free membership
• Good support

Cons:

• No voting rights
• Payment delays
• Complex statements

Best For: Most songwriters

Website: bmi.com

SESAC

Type: For-profit, invitation-only Cost: Free (by invitation) Payment: Quarterly

Pros:

• Selective membership
• Personalized service
• Faster payments
• Good for certain genres
• Strong relationships

Cons:

• Invitation only
• Smaller repertoire
• Less transparent
• Not for everyone

Best For: Established songwriters (if invited)

Website: sesac.com

GMR (Global Music Rights)

Type: For-profit, selective Cost: Varies Payment: Varies

Pros:

• Higher rates claimed
• Selective roster
• Aggressive collection

Cons:

• Very selective
• Controversial
• Limited acceptance
• Not for most artists

Best For: Established hit songwriters

Website: gmrights.com

Note: You can only join ONE PRO at a time.

Sync Licensing

How to Get Sync Deals

1. Sync Licensing Libraries

Major Libraries:

• Musicbed (musicbed.com)
• Artlist (artlist.io)
• Epidemic Sound (epidemicsound.com)
• AudioJungle (audiojungle.net)
• Pond5 (pond5.com)

How They Work:

• Submit your music
• They pitch to clients
• You get percentage of license fee
• Non-exclusive or exclusive

Pros:

• Access to clients
• Passive income
• No upfront cost
• Multiple opportunities

Cons:

• Lower fees
• Competitive
• May require exclusivity
• Percentage split

2. Direct Pitching

Target:

• Music supervisors
• Production companies
• Ad agencies
• Game developers
• Content creators

How:

• Research contacts
• Build relationships
• Send targeted pitches
• Follow up professionally
• Provide easy access to music

Pros:

• Higher fees
• Direct relationships
• More control
• Better terms

Cons:

• Time-consuming
• Requires networking
• Competitive
• Slow process

3. Sync Agents/Publishers

What They Do:

• Pitch your music
• Negotiate deals
• Handle paperwork
• Collect payments
• Build relationships

Cost:

• Typically 25-50% commission
• May require exclusive rights
• Some charge upfront fees (avoid)

Pros:

• Professional representation
• Industry connections
• Handle business
• More opportunities

Cons:

• Commission
• May require exclusivity
• Need to find good one
• Not guaranteed placements

Preparing Music for Sync

Technical Requirements:

• High-quality recordings
• Instrumental versions
• Various lengths (30s, 60s, full)
• Stems available
• Proper metadata

Legal Requirements:

• Own 100% of rights (or have clearance)
• No uncleared samples
• Clear chain of title
• Proper documentation
• Split sheets completed

Marketing Materials:

• Professional EPK
• High-quality photos
• Music descriptions
• Genre tags
• Mood descriptors

Sync Licensing Rates

Typical Ranges:

Student/Indie Films:

• $0-1,000 (often free for exposure)

Independent Films:

• $500-5,000

Network TV:

• Background: $1,000-3,000
• Featured: $3,000-15,000

Cable TV:

• Background: $500-2,000
• Featured: $2,000-10,000

Streaming Shows:

• Background: $1,000-5,000
• Featured: $5,000-25,000

Major Films:

• Background: $10,000-25,000
• Featured: $25,000-100,000+
• Trailer: $50,000-250,000+

Commercials:

• Local: $1,000-5,000
• Regional: $5,000-25,000
• National: $25,000-500,000+

Video Games:

• Indie: $500-2,500
• AA: $2,500-10,000
• AAA: $10,000-50,000+

Corporate/Industrial:

• $500-5,000

YouTube/Online:

• $100-2,500

Protecting Your Rights

Copyright Registration

Why Register:

• Legal protection
• Proof of ownership
• Required for lawsuits
• Public record
• Statutory damages available

How to Register:

1. Visit copyright.gov
2. Create account
3. Complete application
4. Upload recording/composition
5. Pay fee ($35-65)
6. Receive certificate

What to Register:

• Sound recordings (masters)
• Musical compositions (songs)
• Can register multiple songs together
• Register before public release (ideal)

Timeline:

• Electronic: 3-10 months
• Paper: 10-16 months
• Expedited: Extra fee

Poor Man's Copyright (NOT RECOMMENDED)

What It Is: Mailing yourself a copy of your work.

Why It Doesn't Work:

• Not legally recognized
• Not proof of ownership
• Won't hold up in court
• Waste of time

Do This Instead:

• Proper copyright registration
• Keep dated recordings
• Document creation process
• Use split sheets

Contracts and Agreements

Essential Documents:

• Band agreement
• Split sheets
• Producer agreements
• Work-for-hire agreements
• Licensing agreements
• Publishing deals

Key Terms to Understand:

• Exclusive vs. non-exclusive
• Territory
• Term (length)
• Reversion clauses
• Advance vs. royalty
• Recoupment

Red Flags:

• Giving up all rights
• Perpetual terms
• No reversion clause
• Unclear payment terms
• Excessive fees
• Pressure to sign quickly

Revenue Collection

SoundExchange

What It Collects: Digital performance royalties from:

• Internet radio
• Satellite radio
• Cable TV music channels
• Streaming services (non-interactive)

Who Gets Paid:

• Featured artists (45%)
• Copyright owners (50%)
• Session musicians (5%)

How to Register:

1. Visit soundexchange.com
2. Create account
3. Register as artist and/or rights owner
4. Claim recordings
5. Receive quarterly payments

Cost: Free

Mechanical Licensing Collective (MLC)

What It Collects: Mechanical royalties from:

• Streaming services
• Digital downloads
• Interactive streaming

How to Register:

1. Visit themlc.com
2. Create account
3. Claim your songs
4. Verify information
5. Receive payments

Cost: Free

International Collection

Organizations:

• PPL (UK)
• GEMA (Germany)
• SACEM (France)
• APRA (Australia)
• SOCAN (Canada)

How It Works:

• Your PRO has reciprocal agreements
• They collect on your behalf
• May need to register directly for better collection
• Consider international publisher

Common Licensing Scenarios

Someone Wants to Cover Your Song

Requirements:

• They need mechanical license
• Can get through Harry Fox or direct
• Must pay statutory rate
• Can't change lyrics without permission
• Must credit you as songwriter

Your Rights:

• Can't stop them (compulsory license)
• Must be paid statutory rate
• Receive songwriter royalties
• Maintain copyright

Someone Wants to Use Your Song in Video

Requirements:

• Need sync license from you
• Need master license (if using your recording)
• Negotiate terms
• Get it in writing

What to Consider:

• How will it be used?
• What's the budget?
• What's the reach?
• Exclusive or non-exclusive?
• What's fair payment?

Streaming Service Wants Your Music

Through Distributor:

• Distributor handles licensing
• You receive royalties
• Standard terms
• Automatic

Direct Deal:

• Rare for independent artists
• Negotiate terms
• Potentially better rates
• More complex

Licensing Mistakes to Avoid

Don't:

• Give away rights for "exposure"
• Sign exclusive deals without understanding
• Forget to register with PROs
• Ignore international royalties
• Use uncleared samples
• Skip split sheets
• Sign without reading
• Give up masters unnecessarily

Do:

• Understand every contract
• Register everywhere you can
• Keep detailed records
• Get everything in writing
• Consult attorney for major deals
• Know your rights
• Value your work appropriately

Conclusion

Music licensing is complex but essential for protecting your rights and maximizing revenue. Start with the basics (PRO registration, copyright), then explore sync opportunities as you grow.

Quick Start Checklist:

• Join a PRO (ASCAP or BMI)
• Register all songs with PRO
• Register with SoundExchange
• Register with MLC
• Copyright your music
• Create split sheets
• Prepare sync-ready versions
• Research sync opportunities
• Build industry relationships
• Track all uses of your music

Resources:

• ASCAP: ascap.com
• BMI: bmi.com
• SoundExchange: soundexchange.com
• MLC: themlc.com
• Copyright Office: copyright.gov
• Harry Fox Agency: harryfox.com

Remember: Your music has value. Protect it, license it strategically, and collect all the royalties you're owed.