How Often Artists Can Resubmit Music

Sometimes the sync licensing world feels like a secret club with a super-complicated handshake. You pour your heart into a track, think it’s perfect for a film, submit it, and… crickets. Or worse, a polite “no thanks.” Your first thought might be, “Can I just tweak it and send it again? How many times can I even do this?”

TL;DR

• You can often resubmit, but strategically.
• “Resubmitting” usually means submitting a different track or a significantly revised one.
• Blindly resubmitting the exact same track is rarely a good idea.
• Understand why it was rejected (if you can!) to guide your next move.
• Focus on quality and suitability over quantity of submissions.

The Sync Licensing Submission Cycle: An Overview

Imagine you’re trying to get your fantastic homemade cookies into a local bakery. You wouldn’t keep bringing in the exact same batch every day if they said, “These are great, but we already have a double-chocolate chip, and yours is too similar.” Instead, you’d probably go back, bake a batch of peanut butter cookies, or maybe perfect that double-chocolate chip recipe to be truly unique.

Sync licensing works similarly. When you submit a track to a sync library, a music supervisor, or a pitching opportunity, they’re looking for something specific. If your track isn’t a fit right now, it doesn’t necessarily mean your music isn’t good. It just means it wasn’t the right cookie for that particular display case at that particular moment.

In exploring the topic of how often artists can resubmit music, it’s essential to consider the broader context of sync licensing, particularly in the realm of video games. Understanding the intricacies of sync licensing can significantly impact an artist’s strategy for resubmission. For more insights on this subject, you can read the article on sync licensing for video games at this link. This article provides valuable information that can help artists navigate the complexities of getting their music placed in various media, including video games, which may influence their resubmission frequency and approach.

Rejection vs. Non-Selection: What’s the Difference?

Before we talk about resubmitting, let’s untangle two common scenarios:

Explicit Rejection

This is when you get a direct email or notification saying, “Thanks, but no thanks.” They might even give you a reason: “not the right vibe,” “production quality not up to par,” “too vocal-heavy for this brief.” This kind of feedback is gold! It’s difficult to get, so if you receive it, cherish it.

Non-Selection (The Sound of Silence)

This is far more common. You submit your track, and you hear nothing. Crickets. Silence. This doesn’t necessarily mean it was “rejected.” It often just means it wasn’t selected for that particular opportunity or by that particular person. Music libraries receive mountains of submissions, and they can’t respond to everyone. Think of it like applying for a job – you rarely hear back from everyone you apply to, but it doesn’t mean your resume was “rejected” in a personal sense.

Strategies for Resubmission: When and How

Okay, so you’ve submitted something, and it didn’t get picked up. Now what? Your approach to resubmitting depends heavily on the context.

Submitting a Significantly Different Track to the Same Sync Library

This is usually the safest and most effective form of “resubmission.” If you submitted an instrumental indie folk track and it didn’t get picked up by a sync library, there’s absolutely no reason you can’t submit a different track – say, an upbeat electronic pop song – a few weeks or months later, assuming it fits their catalog needs. Sync libraries are constantly looking for new and different music. Each track is its own discrete opportunity.

• When to do this: When you have new material that aligns with the sync library’s catalog, or if you’ve developed a new style or genre.
• How to do this: Treat it like a brand new submission. Don’t reference your previous submission unless there’s a good reason. Just present your best new work.

Submitting a Revised Track to the Same Sync Library

This is where it gets a bit trickier. If you received specific feedback like, “The mix was a bit muddy,” or “The vocals were a little too prominent for an instrumental-focused brief,” then absolutely, rolling up your sleeves, making those improvements, and resubmitting the revised track can be a smart move. This shows you’re coachable and dedicated.

• When to do this: Only if you received specific, actionable feedback that you genuinely addressed.
• How to do this: When resubmitting, politely mention that you’ve implemented the feedback they provided. “Thanks for the feedback on my previous submission! I’ve revisited the mix/master/instrumentation based on your comments, and I’d love for you to reconsider this improved version.” This demonstrates professionalism and attention to detail.

Submitting the Exact Same Track to the Same Sync Library (Generally Not Recommended)

This is almost never a good idea. If a sync library or music supervisor passed on your track the first time, it’s highly unlikely they’ll change their mind if you send them the exact same file again. It can come across as not understanding their needs or, worse, a bit spammy. Their decision wasn’t accidental; they simply didn’t see a fit for it at that moment.

• When to do this: Honestly, almost never. The only extremely rare exception might be if you genuinely believe there was a technical glitch and they didn’t receive or hear it properly the first time, but even then, it’s a huge gamble.
• How to do this: If you absolutely must, wait a very long time (6+ months) and frame it as a “check-in” or a “reminder” that this track is still available, but be prepared for silence or another polite pass. Don’t expect a different outcome.

Submitting the Same Track to a Different Sync Library

This is perfectly fine and often encouraged! Just because one sync library didn’t pick up your track doesn’t mean another one won’t. Different sync libraries have different needs, tastes, and existing catalogs. A track that was too “upbeat” for one sync library might be exactly what another is looking for. This is where broad distribution comes in handy.

• When to do this: Any time! If a track hasn’t found a home with one sync library, cast a wider net.
• How to do this: Treat each submission to a new sync library as unique. You don’t need to inform the new sync library about your previous attempts elsewhere.

To understand the criteria used by production music libraries to accept or reject submissions, read this article.

Understanding Response Times and Follow-Ups

The world of sync licensing doesn’t move at lightning speed. Music supervisors are often juggling multiple projects, and sync libraries are sifting through a constant influx of music. Patience isn’t just a virtue here; it’s a necessity.

Industry Standard Response Times

Vary wildly. For direct pitches to music supervisors, you might get a response within days if it’s urgent, or weeks if it’s less pressing. For sync library submissions, it can be weeks or even months before you hear anything – or before your track suddenly appears in their catalog without prior notification. No news can often mean “it’s in the queue” or “we’ll keep it in mind.”

When and How to Follow Up

If you’ve made a direct submission to a music supervisor for a specific brief, a polite follow-up after a week or two is generally acceptable. Keep it short, sweet, and to the point: “Just wanted to gently follow up on my submission for the [brief name] opportunity. Please let me know if you need anything else from my end!”

For general sync library submissions, unless you have an established relationship or they explicitly invite follow-ups, it’s often best to let them do their thing. Over-following can be counterproductive.

Understanding the nuances of music submission can be crucial for artists looking to get their work heard, and a related article that delves into the broader context of music placement is available at this link. It explores how artists can effectively position their music for various opportunities, including gaming, which is an increasingly popular avenue for exposure. By grasping these concepts, musicians can better navigate the resubmission process and enhance their chances of success in a competitive industry.

Common Misconceptions and How to Avoid Them

Let’s clear up some myths that can trip up artists.

Myth 1: “The More I Submit, The Better My Chances.”

Reality Check: Not necessarily the same track, repeatedly. Quality over quantity. Submitting 10 well-produced, perfectly categorized, and strategically selected tracks will always outperform submitting 100 mediocre or inappropriate ones. Think of it like a chef: you want to serve a few perfectly cooked, unique dishes, not a buffet of reheated leftovers.

Myth 2: “Rejection Means My Music Isn’t Good Enough.”

Reality Check: Not at all. It simply means it wasn’t the right fit at that time for that specific need. Your music could be phenomenal, but if a music supervisor needs a melancholic piano piece and you send them an upbeat EDM track, it’s not a fit. It’s like having a fantastic hammer but needing a screwdriver – nothing wrong with the hammer!

Myth 3: “I Should Submit Everything I Make.”

Reality Check: Sync Libraries and music supervisors appreciate curation. They want to know you’ve put thought into what you’re sending them. If you make everything from death metal to lullabies, consider only submitting the material that genuinely aligns with each sync library’s known aesthetic and needs. Don’t make them do the work of sifting through your entire discography.

Case Study: Elena’s Electronic Oasis

Elena produces electronic music – think chillwave meets lo-fi. She submitted a track, “Sunrise Loop,” to “GrooveStock Music,” a sync library known for its upbeat, energetic dance tracks.

• Initial Outcome: Silence. Not selected.
• Elena’s Initial Thought: “My music isn’t good enough for sync.”
• Her Reframed Perspective (after learning more): “Okay, maybe ‘Sunrise Loop’ wasn’t the right energy for GrooveStock’s primary focus.”

What she did next:

1. Analyzed GrooveStock: She realized their catalog leaned heavily into high-energy, club-ready tracks, not her more laid-back vibe.
2. Identified a Better Fit: She researched other sync libraries and found “Ambient Soundscapes,” which specialized in cinematic, atmospheric, and lo-fi electronic music.
3. Resubmitted Strategically: She submitted “Sunrise Loop” along with two other similar tracks to Ambient Soundscapes.
4. Result: Within a month, “Sunrise Loop” was accepted into Ambient Soundscapes’ catalog, and not long after, was placed in a documentary. She also continued to send new, more energetic tracks to GrooveStock, understanding that each song was its own opportunity.

Elena didn’t resubmit the same track repeatedly to GrooveStock, hoping for a different outcome. She understood the nature of non-selection and sought out a more aligned opportunity for her existing work, while continuing to create new, diverse music for different platforms.

Key Takeaways

Resubmitting music isn’t about brute force; it’s about strategy, understanding, and learning.

• Each Track is a Coin Flip: Every single submission is an independent chance. Don’t let a “no” on one track define the fate of all your music.
• Feedback is Fuel: If you get feedback, use it to improve. This creates a legitimate reason to resubmit a revised track.
• Sync library Alignment Matters: Researching the sync libraries you submit to is crucial. Send the right track to the right place.
• Patience is Your Ally: The sync world moves slowly. Keep creating, keep learning, and keep submitting new and different material.
• Broaden Your Horizons: Don’t put all your eggs in one basket. Distribute to multiple sync libraries to increase your chances.

So, don’t get discouraged by the initial silence or even a polite “no.” Reframe it as an opportunity to learn, refine, and strategically present your music to the world.

Ready to smarten up your sync game and get your music into more sync libraries? Create a free That Pitch account to distribute your music into real sync libraries and keep 100% of your earnings.

Join Free

FAQs

How often can artists resubmit their music to the same platform?

The frequency with which artists can resubmit music varies by platform. Some streaming services and music distributors allow resubmissions anytime, while others may have specific waiting periods or restrictions. It’s important to check the guidelines of each platform.

Are there any restrictions on resubmitting music that was previously rejected?

Yes, many platforms have policies regarding resubmissions of rejected music. Typically, artists must address the reasons for rejection before resubmitting, and some platforms may limit the number of resubmissions or require a waiting period.

Can artists update or replace their music after initial submission?

Most digital music platforms allow artists to update or replace tracks after submission, but the process and frequency allowed can differ. Updates might include improved audio quality, metadata corrections, or new versions of songs.

Does resubmitting music affect an artist’s eligibility for playlists or promotions?

Resubmitting music can impact playlist consideration and promotional opportunities. Some platforms treat resubmissions as new releases, which may reset eligibility, while others may not. Artists should review platform-specific policies to understand the implications.

What is the best practice for artists when resubmitting music?

Best practices include ensuring all issues from previous submissions are resolved, updating metadata accurately, and adhering to platform guidelines. Artists should also space out resubmissions appropriately to avoid being flagged for spam or duplicate content.