SYNC READINESS ASSESSMENT
Most artists who miss sync placements don’t lose them because the music isn’t right. It’s because the paperwork behind it isn’t.
Sync Still Matters More Than Most Revenue Streams.
A sync placement can change the trajectory of a catalogue. One track in a well-watched series, a decent advertising campaign, a documentary with real reach. The income is one thing, but the exposure compounds over time in ways that most other opportunities simply don’t.
So, when it doesn’t happen, or is taking a long time, it’s worth asking why.
Your Paperwork Needs To Be As Good As Your Music.
Most artists assume the answer is the music. In my experience, it usually isn’t. The music is normally fine. What’s missing, incorrect or incomplete is the paperwork behind it, and that’s what stops a track going any further once a music supervisor has shown interest.
What Supervisors Really Need
The Sync Readiness Assessment is a review of your catalogue against the criteria a music supervisor would apply before seriously considering your music for placement.
Assessments start from £400 for a single or EP. Full catalogue work starts from £650.
Metadata First, Because That’s Where Most Problems Begin.
Metadata accuracy is where I start. Titles, ISRC codes, composer and publisher credits. And, whether any of that conflicts between your distributor, your PRS registrations, and what’s sitting on the platforms. Conflicts are far more common than people expect, and they raise immediate questions about who actually controls the rights.
PRS and MCPS registration status comes next, because a track that isn’t correctly registered cannot be cleanly licensed. Then the split documentation, particularly on tracks written with other people. An undocumented or disputed split is one of the most reliable ways to stop a placement at the last moment. After that it is master ownership clarity, because anyone licensing your music needs to know exactly who controls the recording. And, finally, whether your catalogue is presented in a way that makes it straightforward for a supervisor to find and consider your tracks in the future.
Specific Findings, Not General Guidance.
What you receive is a written report. Specific, prioritised, and practical. This won’t be a generalised explanation of how sync licensing works. This is about how your catalogue sits in the environment and what needs fixing before the next opportunity comes along. You can act on it yourself or ask me to work through it with you.
Standard engagements will cover up to twenty tracks. Smaller catalogues or individual releases can be assessed on a reduced scope. Turnaround is typically two to three weeks.
Scope and fee are always confirmed before anything begins.
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This works for artists at any stage of career. A debut EP with three tracks or a back catalogue built over decades. The same questions apply either way.
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