Who owns the track?
Make sure the people involved, writer shares and relevant permissions are clear before a supervisor asks for confirmation.
You can have a great track and still make life difficult for the person trying to license it. Here are a few practical things I look at before music leaves my studio. It's not a promise of placements, just a decent way to get the files in order.
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The free PDF includes a practical submission tracking worksheet.
Get the checklist PDF ↗Different libraries and briefs have different requirements. This is a starting point, not a rigid submission policy.
Make sure the people involved, writer shares and relevant permissions are clear before a supervisor asks for confirmation.
If something in the recording needs permission, sort it out before promising the track is licensable.
For vocal tracks, a clean instrumental can be just as useful as the full mix. Check the actual request.
Think about the intro, endings, transitions and whether the track gives an editor room to work.
Stems, cut-downs and no-lead versions can help, when they're requested and properly prepared.
Track title, contributors, contact details, genre and mood should be consistent with the files you're sending.
Don't send everything to everyone. Actually listen to the publisher's music and think about whether yours belongs there.
Clearly named, high-quality files and a short, accurate pitch beat a confusing download folder.
There's also the question of where the music belongs, which libraries work in your genre, and what happens after a track gets accepted. That's the stuff I spend plenty of time thinking about.