How Can Film Producers License Music From Zach Abels?

When I approach music licensing from a risk-management perspective, I focus on the legal building blocks and the chain of title. With a musician like Zach Abels, the critical distinction is between two separate copyrights: the composition (publishing) and the master recording. For synchronization in a film you generally need permission from both owners unless you’re creating a new recording.

Begin by establishing who owns which right. Use PRO databases (ASCAP, BMI, SESAC) for publisher info; check the label listed on streaming services or physical releases for master ownership. If Zach is self-releasing, he may be both the artist and publisher; if not, you’ll need to contact his label and publisher. Always request a written confirmation of ownership or an assignment of rights. When negotiating, insist that the license set out: precise rights granted, exclusivity or non-exclusivity, media and territory scope, term length, fee, credit placement, warranties of ownership, indemnity clauses, and governing law.

Don’t forget ancillary issues: if the composition contains samples, ensure the sample-clearance chain is intact; if you’ll be using stems for mixing, include deliverables in the agreement. For clearance timing, allow at least two to four weeks for negotiation and signature, more if a publisher or label is involved. Finally, make sure the licensor provides a signed license and consider using an escrow service for funds if you’re dealing with multiple parties or large sums; that gives both sides comfort and a clear record if disputes arise.

I get excited about music-clearance puzzles, and with Zach Abels you’d follow the same music-supervisor logic I use on projects: identify rights holders, reach out, and lock terms in writing. Start by confirming whether Zach controls both the master and publishing. If he’s independent, he might do both; otherwise there could be a label or publisher involved.

Look up the song on streaming services for credits, check Bandcamp or the artist’s site, and search PRO databases for publisher names. Once you find contacts, send a short, friendly brief: project synopsis, exact usage (scene length, start/stop points), distribution plans (festivals, SVOD, theatrical), and your budget range. Managers or labels appreciate specifics because it speeds negotiation.

Negotiation points to expect: sync fee, master fee (if applicable), territory, term, exclusivity, and credit language. Fees vary wildly—indie films sometimes negotiate low-fee festival-only deals, while commercial/streaming use will cost significantly more. If timing is tight, offer a non-exclusive, time-limited license to get clearance quickly and revisit terms if the project expands.

If direct clearance stalls, consider commissioning Zach for an original cue or getting a cover performed, which can simplify master rights. Either way, always secure a signed license and keep records for cue sheets and royalties down the line.

I’ve licensed music a few times for small films and commercials, so here’s a practical, step-by-step way I’d approach licensing a track from Zach Abels based on what usually works.

First, figure out what rights you need. For film you almost always need a sync license (the publishing/composition side) and a master use license (the actual sound recording). If you plan to re-record the song yourself, you might only need the sync license. Check metadata on streaming services, Bandcamp, or liner notes to see who the label or publisher is; if Zach releases independently you may be able to deal with him or his manager directly.

Second, find contact info. I poke around the artist’s official site, Bandcamp, SoundCloud, Instagram, and LinkedIn for management or booking contacts. If the track is registered with a performing rights organization (ASCAP, BMI, SESAC), their database can list publishers. If you can’t find anything, a polite DM often works—explain your project, where the music will appear, and a quick budget range.

Third, negotiate basic terms: territory (where the film will be shown), media (festival, theatrical, streaming, TV), term (how long), exclusivity, fee, and credits. Ask for a written license that specifies sync and master rights, and make sure it contains warranties that the licensor owns or controls the rights and will indemnify you against third-party claims. Don’t forget to budget for cue sheet submission and to secure any sample clearances if the track uses samples.

Finally, get it in writing, pay via contract terms (deposit + balance), and keep all chain-of-title documents. If time is tight, consider commissioning a bespoke piece or obtaining a cover version to sidestep a master license. I always keep a checklist and a named contact so I can follow up quickly—it saves headaches when festival season rolls around.

I love finding music for small passion projects, and contacting Zach Abels can be pretty down-to-earth. If you want to license a song, I’d start by checking his Bandcamp or Instagram for contact details—artists often put manager or label emails there. A short, friendly message explaining your film, where it will be shown, and a rough budget usually gets a reply.

If direct contact doesn’t work, look up the song on streaming platforms and check for label credits or use a PRO search to find publisher info. Another trick I use on a shoestring budget is to ask for a festival-only license (cheaper) or propose commissioning a short original cue—many artists are open to that. Whatever route you take, get the rights in writing, confirm whether you need both sync and master permission, and keep a copy of the signed license for festivals and distributors.