— 6 minutes — Mark Eckert
One-Stop Clearance in Sync Licensing Explained
Short answer: One-stop clearance means a single person or company can grant both rights a production needs to use a track: the sync right for the composition and the master use right for the recording. Music supervisors prefer one-stop tracks because they can be cleared with one conversation and one signature, often within hours instead of weeks.
One-stop vs not one-stop
| One-stop track | Not one-stop | |
|---|---|---|
| Who grants the rights | One person or company | Several writers, publishers, and a label |
| Time to clear | Fast | Slower, sometimes weeks |
| Risk of the deal falling through | Low | Higher, because any party can say no or go quiet |
| Appeal to supervisors on deadline | High | Lower |
Who can be one-stop
- A solo artist who wrote and recorded the track and has no publisher or label
- A band whose members agree in writing that one person or entity can sign for everyone
- A library or publisher that has been granted both rights for the track by all owners
How to become one-stop
- Write a split sheet for every song, signed by every writer. Read why split sheets are critical for sync licensing.
- Agree who signs. Co-writers and band members can authorize one person or company to grant sync licenses for the song.
- Own or control the master. If you paid for the recording yourself, you likely control it. If a label paid, you need its agreement.
- Clear or remove samples. One uncleared sample means the track is not one-stop.
- Keep records. Store split sheets and ownership documents where you can find them quickly.
How to structure collaborations for one-stop covers co-writing setups in more detail.
What happens when a track is not one-stop
The production has to find and negotiate with every rights holder. If one co-writer cannot be reached or a label says no, the track is dropped, often for another that is easier to clear. See risks of non one-stop tracks.
One-stop and sync libraries
When you sign with a library, you usually grant it the right to license both the composition and the master on your behalf. That makes the library one-stop for buyers, as long as you actually controlled both rights when you signed. Read music synchronization rights.
A hypothetical example: one-stop vs not one-stop
This example is made up. A TV editor needs a song for a scene due tomorrow and has two options that fit.
- Track A was written and recorded by one artist with no samples. The artist, or a library acting for her, can approve the composition and master in one step. The editor gets an answer the same day.
- Track B has three co-writers, a recording owned by a label, and a sample. The editor needs approval from each writer, the label, and the sample owners. Some are slow to reply.
The editor uses Track A. Track B may be the better song, but it cannot be cleared in time.
How to make your music one-stop
- Write and record it yourself, or get everything in writing. If others contributed, get signed agreements that let you or one party approve sync uses.
- Avoid uncleared samples. Use original sounds or properly licensed sample packs whose terms allow sync.
- Clarify the master. Confirm who owns the recording, especially if a producer or label was involved.
- Sign split sheets. Record every writer's share and how sync requests will be approved.
- Keep records together. Split sheets, producer agreements, and clearances in one place.
One-stop checklist for each track
| Question | Must be yes |
|---|---|
| Do I, or one party, control the composition? | Yes |
| Do I, or the same party, control the master? | Yes |
| Are all co-writers signed off in writing? | Yes |
| Is the track free of uncleared samples? | Yes |
| Can I answer a clearance request today? | Yes |
Co-writes and one-stop status
Co-writing does not stop a track being one-stop. It just needs an agreement. Writers can agree that one person, or a library, may approve sync licenses on behalf of all of them, with fees split by their shares. Do this when the song is written, while everyone is in contact and agrees.
Why libraries prefer one-stop tracks
Libraries sell speed and certainty. When every track can be approved in one step, they can promise buyers fast, safe clearance. That is why many libraries ask you to confirm you control both sides before they accept a track. Read publishing and master rights in sync licensing contracts for the details.
Common one-stop problems and fixes
| Problem | Fix |
|---|---|
| A co-writer cannot be reached | Agree on sync approval in writing when the song is written |
| A producer owns part of the master | Get a producer agreement that clarifies ownership and approval |
| A sample is not cleared | Replace it with an original part or a properly licensed sound |
| A label owns the recording | Ask the label for approval, or re-record if your agreements allow |
| Session players were not paid under clear terms | Get written releases for their performances |
One-stop and speed
Many sync decisions happen fast, sometimes within a day. A track that can be cleared in one email often wins over a slightly better fit that needs several approvals. Making your catalog one-stop is one of the most practical steps you can take to increase your chances.
What to say when a buyer asks if a track is one-stop
Answer only if you are sure. A clear reply might be: "Yes, I wrote and recorded this track and control both the composition and the master. There are no samples, and I can sign today." If a co-writer or producer is involved, say so, and explain who can approve. Honest, specific answers build trust and avoid problems after a license is signed.
One-stop for bands
A band can be one-stop if the members agree in writing who controls the songs and the recordings, and who can approve sync requests for everyone. Without that agreement, a buyer may need every member's approval, which slows things down. A simple band agreement covering splits and sync approval solves this.
Where That Pitch fits
That Pitch gets your music into 100+ sync libraries from one upload and lets you set royalty splits with collaborators, so every writer on a track is accounted for. It works with non-exclusive libraries only, matches tracks to library briefs automatically, and keeps none of your sync-placement earnings, so you keep 100%. You can join free with unlimited uploads into one library and upgrade any time for 100+ libraries and briefs.
FAQ
What does one-stop mean in sync licensing?
It means one person or company can license both the composition and the recording, so a production can clear the track with a single agreement.
Why do music supervisors prefer one-stop tracks?
They work on tight deadlines. A one-stop track can be cleared quickly with one signature, while a track with many rights holders can take weeks or fall through.
Can a band be one-stop?
Yes. If all members agree in writing that one person or entity can grant sync licenses for the song and the recording, the band can be one-stop.
Does a sample stop a track from being one-stop?
Yes, unless the sample is cleared. The owners of the sampled song and recording also have rights that must be licensed.
Can a co-written song be one-stop?
Yes, if all writers agree in writing that one person or a library can approve sync licenses for everyone, and the same party controls the master.
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