Fresh off a high-profile VRBO placement, Rodello’s Machine – a music duo established by industry vets Kolby Knickerbocker and Nathaniel Donnis – joined us to discuss the deal and why they recommend pursuing non-exclusive sync placements.
The soothing instrumentals and uplifting lyrics of Rodello’s Machine’s “Lila” caught the attention of VRBO’s team, which featured the track’s stellar acoustics in an advert about renting breathtaking beachfront homes via their online marketplace. Carefully selected music contributes heavily to visual media’s emotional impact, and like numerous placements finalized through Songtradr, “Lila” feels uniquely well-suited for the spot.
But the track wasn’t crafted solely for VRBO. Knickerbocker and Donnis, having accumulated experience on both the exclusive and non-exclusive sides of sync, spoke highly of the advantages – creative and otherwise – of aiming for success in the latter space.
“We originally had a sync deal with Angry Mob. That was [an exclusive] thing where we didn't work with anybody else. We played that angle for a little while but then discovered that we wanted to work with other people and not take that risk,” Donnis told us, referring to the inherent uncertainty that comes with focusing entirely on securing exclusive placements.
“So we decided to do non-exclusive agreements only," Donnis added. "Then we spread ourselves out and saw more of a great market-networking effect. It’s been good because we’re able to work with multiple companies.”
“So we decided to do non-exclusive agreements only," Donnis added. "Then we spread ourselves out and saw more of a great market-networking effect. It’s been good because we’re able to work with multiple companies.”
Knickerbocker echoed the sentiment, touting the career and income benefits of scoring many small- and medium-size sync placements – and, of course, the occasional VRBO deal, albeit while avoiding seeing a promising placement fall through at the last second.
“We were on the editing block for a Coca-Cola commercial,” Knickerbocker told us of one such instance. “It was a Coca-Cola commercial, but it was exclusive. We were like, ‘Yes, finally!’ Then the director at the last minute said, ‘Switch up the song.’ And we were like, ‘Yo, are you kidding?’ That could have been five to eight figures and big figures after it. But the director didn't like it."
“I was like, ‘I'm sick of almost getting a 50-grand placement and ultimately getting nothing at the end of the year.’ So I was like, ‘Okay, let’s get a few thousand every year, and build off that,’” he continued.
Bearing these comments in mind, Knickerbocker joined Donnis in voicing clear-cut support for the types of non-exclusive sync licenses facilitated by Songtradr. You can see more of these placements in our Monthly Mixdown, where we showcase a selection of Songtradr’s recent music placements in TV, film, advertisements, and more.
“I try to make this [non-exclusive, volume-based licensing] our main business model for music,” Knickerbocker said. “I've looked at this extensively, and what I can gather is that it really depends on the library or the agency. Like, the non-exclusive library or agency and/or the exclusive supervisor. It really depends on the caliber there. But in general, what I'm finding is that this non-exclusive landscape that we're playing has a greater propensity for more revenue.”
"[The VRBO spot] has been a really nice placement – but that's unusual. We tend to get hundreds of $75, $150, and $200 placements across the board. That's given us a lot more of a revenue stream, which is great for us as working musicians.”
Interestingly, the creators also relayed that their ongoing focus on non-exclusive sync doesn’t mean exclusive agreements are off the table. On the contrary, the duo’s approach to the sector means that each placement boosts streams and visibility – potentially setting the stage for exclusive deals in the process.
“We produce new material that's not been licensed,” explained Donnis. “We can maybe carve out a few songs and be like, ‘Let's just play with these three songs we think have potential and pitch them before we license them anywhere else.’
“And hopefully, by having some more marketing from all the other placements we've had, people can kind of see we have a reputation for licensing quality music," he continued.
"Then we can pitch that to say, ‘Hey, look, we have these three songs. If you want to do a private placement for these three, then we'll do that.’”
“I know several artists who do exactly that,” added Knickerbocker. “They'll catalog an album in a non-exclusive round to build exposure, and then they’re constantly writing new stuff and pitching. So it's doable. I've heard from other artists that it can be successful.”
In the end, regardless of the approach that a musician employs while pursuing sync licensing success, Knickerbocker underscored the importance of staying true to an authentic creative vision and letting achievements fall into place as a result of this authenticity.
“I think with people needing more music and more content, there's so much opportunity," he explained. "It’s about carving out your niche and sticking with what you're good at, whether that’s creating lo-fi beats or meditation music or like us with acoustically driven sort of indie-folk songs.”
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This post was written by Dylan Smith of Digital Music News as part of a broader partnership with Songtradr.
