A music sync clearance packet should let a production team identify who to contact for the composition and the sound recording, assess which versions are available, and understand the proposed use. Gather verified ownership contacts, labeled audio, and a concise use summary; mark unknowns instead of guessing. The packet begins a clearance discussion, but it does not prove that every right is controlled or that a particular use is authorized.
Separate the two rights before you gather contacts
A sync clearance discussion usually involves two distinct rights: the musical composition and the sound recording. The composition is the underlying song or instrumental work; the sound recording is a particular recorded performance or production of it. A project may need permission for both, so identify a contact for each side rather than assuming one person controls everything.
Authorship and ownership are related but not interchangeable. A songwriter may have helped create a composition without owning or administering all of it today. A label, artist, producer, publisher, administrator, or other party may have a role in the recording or composition rights. Your packet should state what you know and flag what remains unverified.
- For the composition: list writers, known shares if documented, publisher or administrator details, and an authorized contact where confirmed.
- For the recording: list the recording title, featured artist or project name, label or master-rights contact if applicable, and who can respond to a request.
- For collaborators: note relevant producer, session-player, sample, or other contributor information when it may affect permissions.
Build a contact sheet that shows the route to an answer
A useful contact sheet is more than a list of names. For each party, include their role, organization if relevant, preferred business contact, and the basis for including them—for example, a current rights statement, agreement, or administrator record. Do not infer control from a streaming credit, distribution listing, or catalog entry.
If there are multiple writers or owners, show the known parties separately instead of presenting one person as the sole decision-maker. If a publisher or rights administrator handles inquiries, identify that relationship without claiming it owns the work. Mark unconfirmed details plainly, and ask the relevant rights holder or qualified adviser to verify them before any request is treated as cleared.
- Use one row per composition party and one row per recording-side contact.
- Include an alternate contact only when its role is known.
- Record the date and source of your latest verification so your team can spot stale information.
Describe the proposed use, even when the brief is incomplete
A clearance request cannot be assessed well without context. Summarize what is known about the project and how the music may appear: film, series, advertisement, game, podcast, online video, or another format. Include the scene or function, whether the music is foreground or background, any planned edits, and whether vocals or a specific lyric-free passage are important. Do not quote lyrics in the packet.
Add proposed territory, term, media, exclusivity if requested, target timing, and any known distribution context. These are request details, not settled terms. If the brief has not specified an element, write “not yet confirmed” rather than guessing. The exact use and rights holders determine what permissions are needed, so a packet starts a discussion; it does not establish that a use is cleared.
- Identify the project and production contact where available.
- Describe the scene, placement context, and intended edit or duration in plain language.
- Separate confirmed brief information from assumptions and open questions.
Include versions that make evaluation and handoff practical
Provide a clearly identified reference mix and, if available, relevant alternatives such as instrumental, clean, or shorter edit versions. Name files consistently with the track title, version, and date or revision marker. Keep the audio versions aligned with the recording whose rights you are offering; an alternate mix may still be a distinct recording or derivative production that needs its own rights review.
For a production handoff, retain the session files and a concise note on tempo, key, structure, and any edits already made. These materials help a production team evaluate or adapt the track, but do not substitute for permissions. Before sharing stems or session elements, confirm that you are entitled to provide them and that third-party material is disclosed.
- Use unambiguous version labels and avoid filenames such as “final-final.”
- State whether stems, edits, or instrumentals exist; do not imply they are cleared merely because they are available.
- Disclose samples, interpolations, or other third-party material and identify the status of any related review.
Keep records and verify scope before anyone relies on the packet
Attach or reference supporting records that help establish the route to authorization, such as split confirmations, relevant agreements, label or publisher correspondence, and sample documentation. Share only material appropriate for the recipient; sensitive agreements may be summarized or supplied through an authorized process. A distributor’s release metadata can help identify a recording, but distribution is not the same as publishing administration, and neither automatically confirms control of every right.
If the project advances, compare the actual proposed use with the permissions being requested and the parties who must respond. Verify the composition and recording sides separately, including any sample or collaborator issues. A cover-song license does not itself clear synchronization or samples. Ask the relevant rights holders, publisher, rights administrator, distributor, or qualified adviser what needs confirmation for the specific use.
- Maintain a versioned packet and a log of who received it and what was confirmed.
- Track open items, responsible contacts, and follow-up dates without recording assumptions as approvals.
- Pause if ownership, sample status, or authority to approve remains unclear.
Before you send the packet
- Confirm who can speak for the composition and who can speak for the recording.
- Gather current contact details and note any ownership or approval questions still open.
- Prepare labeled audio versions that match the material you are actually offering.
- Summarize the proposed use, media, territory, term, timing, and edit context if known.
- Keep supporting records and a clear list of unresolved items with the packet.
Questions about this approach
Does an ISRC prove that I control the recording?
No. An ISRC identifies a particular sound recording for industry tracking, but it does not establish who owns or controls it. Verify recording-side authority through relevant agreements and current rights contacts.
Can I rely on my distributor or publisher to clear everything?
Not necessarily. A distributor may deliver a release and provide associated metadata, while publishing administration concerns services for composition rights and related records. Neither role alone confirms that all permissions for a proposed visual use are available.
Does a cover-song license cover a sync request?
No. A cover license may address particular recording or distribution uses, but it does not by itself clear synchronization or samples. The exact use, recording, composition, and rights holders need review.
For help applying this approach, explore our a music licensing request.
Discuss your music project with One World Media
Tell the team about your project, its current stage and the support you need. Contact One World Media, or call (307) 200-8139.