This article originally appeared on Performer Magazine.
If you've been trying to get master/sync licenses (syncs) for your music to be used in advertising, games, movies, etc., you've probably been dealing with a sync rep. If you're unfamiliar with how this process works, basically a rep is the person who is tasked with finding, vetting, and presenting tracks to review for a client. There's normally a brief, or deal memo, outlining what kind of track is needed, what the usage will be, and an overview of payout, etc., and most reps have a network of writers, publishers, and producers they reach out to for submissions to fill these needs.
Simple enough, right? You get an email asking for a certain kind of track, and you submit, but you've heard nothing back. Even after 20 of these "call outs," you still haven't executed a license with this sync rep.
What's the deal? Why not? Is your music not good enough? Well, it's not that cut and dried.