— 6 minutes — Mark Eckert
Non-Exclusive Sync Libraries: How One Catalog Reaches Many Libraries
Short answer: A non-exclusive sync library can license your track without stopping you from placing the same track in other libraries or licensing it yourself. You keep ownership, and one catalog can sit in many libraries at the same time. That Pitch works this way: there are no exclusive libraries in the That Pitch network, so one catalog can reach 100+ sync libraries.
What non-exclusive means in a sync library deal
When you sign a non-exclusive deal, you give a library the right to license your music. You do not give up the song or the recording. In practice that means:
- You keep ownership of the composition and the master.
- Other libraries can carry the same track under their own non-exclusive deals.
- You can usually still release the song on streaming and license it directly. Check each contract for anything that limits this.
An exclusive deal is the opposite. One company becomes the only one that can license the track, sometimes for a fixed term and sometimes for longer. For a side by side look at the contract language, read exclusive vs non-exclusive sync licensing agreements.
Can the same song be in more than one sync library?
Yes, if every deal you hold for that track is non-exclusive. The moment one deal for a track is exclusive, that track can only live with that company until the deal ends. Many artists keep most of their catalog non-exclusive and choose exclusive homes only for specific tracks. More detail in can the same track be in multiple production libraries.
How one catalog reaches many libraries
There are two ways to spread a catalog across many non-exclusive libraries.
Submit to each library yourself. Each library has its own application, file specs, metadata template, and contract. Some reply quickly, many take months, and some never reply. It works, but it takes time for every library you add.
Use one service that distributes to many libraries. You upload and tag your catalog once, and it goes out to multiple libraries. With That Pitch you can join free with unlimited uploads into one library, then upgrade to reach 100+ sync libraries and briefs. Tracks are matched to library briefs automatically, so you are not pitching each one by hand.
The tradeoffs: non-exclusive vs exclusive
| Non-exclusive | Exclusive | |
|---|---|---|
| Where the track can live | Many libraries at once | One company only |
| Ownership | You keep it | Depends on the contract. Read the ownership and term clauses |
| Getting accepted | Usually easier | Usually more selective |
| Attention per track | Varies by library | Often more hands-on, since the company has more at stake |
| Buyers who need exclusive use | May not be able to offer it | Can offer it |
| Best for | Building wide reach for a whole catalog | Specific tracks that clearly fit one company |
Neither model is better for every track. See pros and cons of non-exclusive sync licensing contracts for more on the tradeoffs.
Retitling, Content ID, and other things to watch
- Retitling. Some non-exclusive libraries register a track under a new title so they can tell which licenses came through them. Keep a list of every title each track is registered under, so you can match statements and cue sheets.
- Content ID and fingerprinting. If more than one company registers the same recording with a fingerprinting system such as YouTube Content ID, licensed customers can get conflicting claims. Ask each library how it handles Content ID, and do not opt the same recording in through more than one company.
- Cue sheets. Each placement should be reported on a cue sheet so your PRO can pay performance royalties. See cue sheets and backend royalties in sync licensing.
- Term and removal. Know how long each deal lasts and how to take a track down. See contract expiration and catalog removal.
How to keep metadata consistent across many libraries
- Keep one master sheet with titles, alternate titles, writers, splits, PRO and IPI details, ISRCs, moods, tempo, key, and versions.
- Copy, do not retype. Fill each library's template from the master sheet so spellings and splits match everywhere.
- Name files the same way every time. See file naming conventions for metadata.
- Get splits in writing before you deliver anywhere. See why split sheets are critical for sync licensing.
For a fuller system, read organizing tracks for multiple sync libraries.
Where That Pitch fits
That Pitch is non-exclusive. There are no exclusive libraries in the That Pitch network, so your music can sit in 100+ sync libraries from one catalog while you stay independent. You keep 100% of your sync-placement earnings, you can set royalty splits with collaborators, and tracks are matched to library briefs automatically. Artists in 40+ countries use That Pitch. You can join free with unlimited uploads into one library and upgrade any time for 100+ libraries and briefs. If you want to compare library options first, see music sync libraries.
FAQ
What does non-exclusive mean for a sync library?
It means the library can license your track, but it is not the only one that can. You keep ownership of the song and the recording, and you are free to place the same track with other non-exclusive libraries or license it yourself, as long as your contracts allow it.
Can the same song be in more than one music library?
Yes, as long as every deal you have for that track is non-exclusive. If you sign one exclusive deal for a track, that track can only live with that company for the length of the deal.
Do non-exclusive libraries pay less than exclusive ones?
Not by default. What a placement pays is set by the license itself: the type of media, how the music is used, the territory, and the term. Exclusive deals can come with more hands-on pitching for each track, while non-exclusive deals let one track earn from many libraries at once.
What happens if two libraries pitch the same track?
Usually nothing goes wrong. The buyer licenses the track from whichever library they found it in, and each use gets its own license. Problems tend to come from duplicate Content ID registrations or mismatched metadata, so keep those clean. If a buyer asks for exclusive use of a track, a non-exclusive library may not be able to offer it.
How do I keep metadata consistent across many libraries?
Keep one master sheet for your catalog with titles, writers, splits, PRO details, ISRCs, moods, and versions, and copy from it every time you deliver. If a library retitles a track, add the new title next to the original so you can match statements later.