Cue sheets are one of the most important aspects of music supervision and licensing. They’re the key to making sure composers, publishers, and artists actually get paid when their music is used in TV, film, or advertising. The problem is, cue sheets are often misunderstood, overlooked, or filled out incorrectly.

This guide comes from a panel hosted by Orfium and the Guild of Music Supervisors, featuring Bryan Bakke (Director of Business Development at Orfium), Neha Gandhi (Music Coordinator at Yay Team), Jonathan Schultz (Producer/Engineer/Music Editor), and Joel Stoner (Senior Manager at Orfium).

We’ve pulled together their insights into a clear Q&A format that walks you through everything: what a cue sheet is, how to create one, what happens after you submit it, and even how to handle tricky situations like public domain covers, unreleased tracks, and fixing mistakes.

Q1) What is a cue sheet and why is it important?

A cue sheet is the official log of all music used in a production, whether that production is a TV show, film, trailer, or advertisement. It includes information such as the title of the track, the composer, the publisher, the label, identifying codes (ISWC, ISRC, IPI/CAE), and the exact on-screen duration.

Cue sheets are not just paperwork; they are the mechanism that ensures performing rights organizations (PROs) like ASCAP, BMI, and PRS can pay royalties to the correct rights holders. In other words, a cue sheet is essentially a paycheque for composers, publishers, and other music stakeholders.

If you’d like to learn more about how to handle cue sheets, from cue sheet 101 to best practices, download Orfium’s Cue Sheet Guide for free here.

Q2) What information must be included on a cue sheet?

At a minimum, a cue sheet should contain two layers of information:

1. Header information: Program or film title, type of production, season and episode number (if applicable), production company, air or release date, and alternate titles.
2. Per-cue metadata: Title of the track, names of composers and publishers (with IPI/CAE numbers), label or master owner, ISWC and ISRC codes if available, usage type (background, visual vocal, end credits, etc.), timecodes for in and out points, and the exact duration of the music.

Adding a notes or comments field can also be very helpful for clarifications, such as corrected spellings or special circumstances.

Q3) How precise do cue sheet durations need to be?

Durations must be frame-accurate. It is not acceptable to round up or round down. PROs often cross-check cue sheet data against the length of the program, and if the total listed music duration is longer than the program itself, payments can be delayed or withheld.

Q4) How do you create a cue sheet?

Cue sheets can be created in several ways:

• Manual entry: You can use templates provided by PROs such as PRS, or you can use platforms like Soundmouse by Orfium. Metadata should always be verified against PRO databases such as ASCAP’s or BMI’s public repertoire search.
• Importing an Edit Decision List (EDL): Many music editors export an EDL from their DAW session, which includes timecodes and cue names. Platforms such as Soundmouse can ingest this file to populate a cue sheet automatically.
• Audio recognition (AR): A video file can be run through an audio recognition system, which automatically detects music and matches it against registered metadata, creating a cue sheet without manual input. Here’s more on how audio recognition technology can improve cue sheet accuracy, ensure legal compliance and cut cue sheet admin time by 83%.
  

Q5) What is the best workflow for ensuring accuracy in cue sheet timings?

Music editors often begin tracking cues from the start of a project, including temporary score, licensed songs, actor performances, and archival clips. Before the final mix, they confirm clearance limitations with supervisors, such as whether a song must end before the credits.

After the mix, editors use tools such as Pro Tools Strip Silence to identify cue regions, but they always refine start and end points manually at the frame level. They may checkerboard music stems, export EDLs, and use software platforms to reduce human error. The ultimate goal is to ensure that every cue is measured accurately so that rights holders are paid correctly.

Q6) How is licensing information gathered and verified for TV and film production?

Music supervisors and coordinators handle licensing by obtaining agreements from labels, publishers, libraries, or composers. At the time licenses are delivered, they request the relevant cue sheet metadata.

Verification is critical. Every name must be spelled correctly, publishers and writers must be matched to their PRO registrations, and splits must be accurate. Supervisors often cross-check with ASCAP, BMI, or PRS repertoire databases. Because writers and publishers can change PRO affiliations, verification is an ongoing process right up until the show or film is released.

Q7) What happens after a cue sheet is submitted to the PRO?

Once submitted, the cue sheet is ingested by the PRO, often in a standardized internal format. The PRO then matches the metadata against its repertoire database, aggregates performance logs (when and where the program aired), and uses that information to allocate royalty payments.

Having ISWC, Tunecodes and ISRC codes included can greatly speed up the matching process, but the most important elements remain accurate titles, composer names, publisher names, and IPI numbers.

Q8) Can cue sheets be corrected after submission?

Yes, but the process can be slow and complicated. Ideally, errors are caught during the broadcaster or studio’s review stage before submission. If mistakes are found later, PROs may require a corrected or replacement cue sheet. Rights holders can also flag errors if they notice missing payments. However, corrections after submission often delay royalties, so accuracy from the start is the best safeguard.

Q9) How should different types of music be listed on a cue sheet?

• Production/library music: Credit the composers and publishers as provided by the library.
• Commercial music: Credit the songwriters, publishers, label, and include ISWC and ISRC if available.
• Commissioned/score music: List the composer and publisher who created the work specifically for the production.
• Public domain works: These should also be included, with “Public Domain” noted where appropriate. For arrangements, the arranger should be credited, as some PROs recognize arrangement royalties.
  

Q10) How should covers of public domain songs be credited on a cue sheet?

You should include the title, mark the work as Public Domain, and list the arranger. Depending on the PRO, the arranger may be entitled to royalties for the new arrangement.

Q11) Should each cue have a unique title, or can they be grouped together under one title?

Both methods are used. Some composers roll up cues under one title (for example, “Film Title BG Cues”), while others give each cue a unique name. Rolled-up registrations can simplify administration, but unique titles are often more practical for reuse in other productions and for accurate tracking on platforms such as YouTube.

Q12) What happens if a song is unreleased and not registered with a PRO?

Unreleased songs still belong on the cue sheet. If licensing is in place, registration can happen later. In these cases, PROs may temporarily roll cues up under a generic title until registration is complete. Independent artists should be encouraged to register their works quickly to avoid delays in royalty payments.

Q13) Should administrators and publishers both be listed in a cue sheet?

Yes. If the administrator and publisher are different entities, both should be included on the cue sheet to ensure complete and accurate information.

Q14) How are ghost writers or arrangers protected legally?

If ghost writers or arrangers have properly registered their contributions with a PRO, then they are protected. Cue sheets should reflect the splits accurately. In cases of conflict, PROs may investigate and request clarification. Ultimately, contracts and registrations determine payment.

Q15) Do music supervisors ever submit cue sheets directly to PROs?

This depends on the project. On larger studio projects, submission is usually handled by the studio or through a platform. On smaller independent projects, the music supervisor may take responsibility for submitting directly.

Q16) How important are ISWC and ISRC codes?

ISWC and ISRC codes are very useful because they provide unique identifiers for works and recordings. However, they are not always available, especially for new releases. The most critical information remains accurate titles, composer and publisher names, and IPI numbers.

Q17) How should actor performances be managed in cue sheets?

If actors are singing, humming, or whistling, these uses must be included on the cue sheet. Supervisors must confirm that such performances are covered in the actor’s contract and ensure that the melody used is public domain or cleared. If not, Automated Dialogue Replacement (ADR) may be needed to replace the melody.

Q18) How do you handle incidental music in archival footage in cue sheets?

Archival footage with incidental music still requires clearance. If clearance is impossible, production teams may need to scrub or replace the audio to ensure compliance.

Q19) How should foreign writers without a local PRO be managed in cue sheets?

Foreign writers who live in countries without their own PROs should still be listed on the cue sheet. They can join a PRO in another territory, such as BMI, ASCAP, or PRS, to receive payments.

Q20) What are the top best practices for avoiding delayed and disputed royalties?

• Always verify metadata against PRO databases.
• Include all writers and confirm splits match registrations.
• Ensure durations are frame-accurate.
• Use EDLs or audio recognition to reduce error.
• Add clarifying comments when necessary.
• Budget time for human review before final submission.

Conclusion

Cue sheets are one of the most important parts of the music licensing process. They’re the tool that makes sure everyone who created or owns the music in your project gets paid what they deserve.

The main takeaway is: accuracy is everything. Double-check your metadata, keep your timings frame-perfect, and make sure all the writers, publishers, and codes are included. It saves headaches later and keeps royalties flowing to the right people.

So the next time you’re working on a project, treat the cue sheet like it’s as important as the final mix. Because for the people who made the music, it really is.

To learn more about how to handle cue sheets, from cue sheet 101 to best practices, download Orfium’s Cue Sheet Guide for free.