Audio Motion MusicSynchronisation (the song)
Used to request permission for the underlying melody, lyrics and composition to be paired with a particular audiovisual production. Its controlling writers or publishers may have separate shares.
AUDIO MOTION · RIGHTS & LICENSING GUIDES
Music sync licensing explained: master rights versus publishing rights
When music meets picture, the creative question is “does this track fit?” The licensing question is “who has the authority to approve this exact use?” The answers are not always supplied by the same person.
A practical educational guide from Audio Motion Music. Rights vary by territory and contract; this is general information, not legal advice.
The composition is the underlying song
The music and lyrics are separate from any particular recording. Songwriters and publishers or other controlling parties may own or administer different shares. Licensing the composition for synchronisation with picture normally requires relevant approval from its controller or controllers.
A performing rights organisation registration or songwriter credit can help research ownership, but does not automatically grant commercial synchronisation permission.
The master is a particular sound recording
The original album master, an alternate mix, a new cover or a live performance can be different sound recordings. Using the actual existing recording in a film, trailer, commercial or game typically requires a master-use licence from its controller.
If you commission a new recording, you may not need the old recording owner’s permission for that master, but composition and arrangement rights still need attention.
One-stop music and complex multi-party songs
A “one-stop” track generally means a single authorised point can coordinate the required approvals for its relevant recording and composition. Confirm the scope in writing: one-stop is not a universal promise covering every future media, territory or rework.
A chart hit can have multiple publishing administrators, master territories, approval layers and creative restrictions. Sourcing it may be quick; clearing it can be the longer stage.
What a practical sync brief includes
Record the production title, narrative scene, exact recording, duration, platforms or media, geography, term, budget, edit requirements, publicity context and intended release date. Also ask whether there will be trailers, social adverts, online edits or international versions.
The licensing terms must cover the final material actually used, not merely the reference song in an early edit.
Finish with evidence, not assumptions
Save the executed licence documents, payment obligations, approved materials, licence term and geographic limits with the production. A cue sheet, credit, stream link or licence enquiry alone is not written commercial clearance.
Where required, seek specialist legal advice and recheck a licence when the use expands.
How Audio Motion can help
Audio Motion connects creative sourcing with rights visibility, client approvals and final music delivery. For an existing famous commercial recording, start with the major-song clearance service.
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Your next step
Put the rights brief in motion.
Need master-use and publishing clearance for a particular film or advertising use? AMM can assess the proposed use, investigate the relevant controllers and coordinate permission requests. Only signed grants determine what is approved.
Master-use licence vs synchronisation licence: what changes?
Master use (the recording)
Used to request permission for an existing recording to appear in the film, TV episode or advert. Its controller may impose its own fee, territory, edit or brand-use terms.
Newly recorded version
Replaying a composition rather than copying the old master can change the master permission question. It does not automatically remove the need for composition approval or consent to an adaptation.
Example: a trailer using an existing chart recording ordinarily raises both the composition synchronisation and master-use questions. A producer's new recording of the composition raises a different master-rights question but still needs the composition use reviewed. Public-performance licences or platform subscriptions do not ordinarily replace these approvals.