Thirty years in. The same five misconceptions. Over and over. Music licensing is opaque from the outside, and there's no shortage of confident-sounding voices willing to fill that gap with things that are partially true, mostly simplified, or just wrong. Here's what actually costs composers time, money, and momentum.

The music being good is the entry requirement, not the achievement. I've talked with composers ten albums deep who couldn't understand why their career wasn't moving. The answer was rarely about the music. It was about everything that comes after it.

I grew up about a mile from Les Paul's childhood home. We went to the same public school system. I didn't really understand what all of that would mean to me until I'd already given my life to this.

There's a version of sync licensing advice that gets passed around a lot. It's well-intentioned, generally accurate, and built almost entirely around studying the placements of artists who will never be in your situation. Sia. M83. The Black Keys. The Cinematic Orchestra. These are instructive examples if you're trying to understand why a piece of music works in a scene. They're not particularly useful if you're trying to build a production music catalog as a long-term business.

The NYT Magazine just ran a major piece on production music and sync licensing. Here's the perspective they couldn't get from the outside—from someone who sold a catalog to Extreme Music.