For artists wanting to get into sync licensing, the video game industry is a great market to tap into. Video games soundtracks and scores are in need of composers, singers, and producers alike to create music that renders the gaming experience even more captivating and immersive.
The most surefire way to get the attention of video game companies and music supervisors is by going through a sync agency that can pitch you music for you. Groover has sync partners around the world who you can contact directly and are ready to hear your music. Let them know you want your music in a video game, and work together to make it happen! Here are a few of the sync companies Groover is partnered with.
The Basics: Licensing
In order for anyone other than a song’s owner to use the music, it must be licensed to them. This is essentially the legal permission necessary to use a song in a TV show, commercial, movie, video game, trailer, or anything associated with a product.
Payment to the song’s owner can either be in royalties (a percentage of total earnings over time) or as a lump sum. The legal side of negotiating contracts and fees can be messy, so it’s worth having a third party such as a publisher, sync agency, or label to do most of the legwork. You will, of course, have to pay them for their service or give them a cut of the check.
Submitting Through Distributors
Some online distributors also act as music licensing and publishing companies. If you’re an independent artist, you’ve surely released music using a digital distributor, so check their services to see if they offer sync opportunities.
If they do, they will either ask for a one-time fee to open your account for submissions and take a cut of the royalties, or the cost will be bundled into a regular subscription. Either way, it can be handy to have everything in one place.
Reach Out to Video Game Developers
Before reaching out, you must determine which games your music would actually fit well with. Avoid submitting music that doesn’t match the look and feel of the game so you don’t waste any energy on a pitch that may be discarded.
When you’ve found a company or developer you think will be interested in your work, find their contact information on their website, LinkedIn, or social media. Email is the preferred and professional means of communication – do not send an Instagram DM.
In your message, briefly introduce yourself, but focus on the music. The message should only be a few sentences, so make them count by being descriptive about your track and why you think it would be a valuable addition to the game. It will be clear in the way you write whether or not you are a user, and knowing the game as a consumer yourself is certainly of help.
To make things easier for everyone, include a streaming link, private link to SoundCloud, Untitled, or YouTube, and make it downloadable. If your recipient likes what they hear, they’ll be able to share it with ease.
Developers Finding You
If you’re part of a sync agency or publishing company with a good network, music supervisors and developers may come to you. This is part of the advantage of having a team behind your sync placements. You can browse Groover’s list of global sync companies available to contact through their platform.
Another means of attracting offers is by submitting your songs to online music libraries that production companies sift through for potential syncs. Depending on the library, this could mean giving up your rights to the song, however.
Of course we all know the power of social media – posting your music on social networks and tagging a game company may result in interest on their part as well.
Example: FIFA
FIFA is one of the most popular video games there is and ever was, and has gained a reputation for having a great soundtrack every year. During the game lobby and training exercises, an eclectic playlist of songs (very often emerging artists) is played and sets the tone and energy of the game.
Some songs that were popularized shortly after being on the FIFA soundtrack include “Heat Waves” by Glass Animals, “Love Me Again” by John Newman, and “Phone Numbers” by Dominic Fike.
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