Selling a Music & Audio Production business

From real buyer-and-seller (or “buyer-to-seller”) calls, audio deals usually come down to whether the next owner can inherit trust. Buyers want clean rights, a calendar that actually turns into paid invoices, a team that can deliver the same sound, and a workflow that still works when the founder is not in the chair.

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What's your music & audio production business worth?

What buyers evaluate, and how to prepare

Can you show clean financials that tie to bookings and invoices, or is it mostly “we’re always busy”?

Deal-critical

Financial Readiness

What buyers determine

Buyers are checking if the studio is financeable and ready for diligence. They also want proof your revenue matches the reality of paid sessions and collected invoices, including deposits, discounts, and comps. Clean books cut down retrades and keep closing timelines tight.

How to prepare

Reconcile P&Ls to tax returns and produce monthly P&Ls for the last 24–36 months
Build a bookings-to-invoices bridge (paid session days/projects → invoices → cash collected)
Document add-backs with support (owner comp, personal expenses, one-time build-out, unusual repairs)
Stage a lender-ready data room: financials, AR/AP aging, payroll/contractor spend, and major vendor lists

Great answer

We have monthly P&Ls and tax returns for the last three years, reconciled to bank activity and QuickBooks. For the last 12 months, we can tie paid room days and project invoices to cash collected, including deposits, discounts, and comps. Add-backs are itemized with support, and AR aging is current with no hidden concentration.

Good answer

We can pull everything from QuickBooks and walk through the big categories, and we track utilization and pricing at a high level. We will need time to tie the calendar to invoicing and tighten up the add-back support.

Red flag

We do not track it like that. The calendar is full and we know we are profitable, so we can sort out the details later.

How Rejigg helps:Rejigg combines a built-in data room with QuickBooks connections so buyers can verify revenue and cash flow without messy spreadsheets.

What rights transfer at close, what needs third‑party consent, and can a buyer actually own and reuse the work you’ve delivered?

Deal-critical

Rights & Transfer

What buyers determine

They are underwriting whether revenue and portfolio value transfer cleanly. Buyers look for gaps that create disputes later, like missing work-for-hire language, unclear splits, uncleared samples, library restrictions, or change-of-control clauses. Rights messes can stall a deal quickly once a buyer sees income they cannot reliably own or administer.

How to prepare

Inventory projects/streams by rights posture: work-for-hire, shared rights, royalty deals, and library/catalog assets
Gather contracts, split sheets, clearances, and library/platform agreements; note assignment/change-of-control clauses
List exceptions explicitly (half-owned assets, missing paperwork) and how they’re tracked/mitigated
Document account ownership (publishing/library portals, distributor logins) and the transfer plan

Great answer

Most client service work is work-for-hire under signed terms, and we can show the templates plus examples. For the royalty and collab exceptions, we have split sheets and statements by title, and we have flagged which agreements require consent if ownership changes. Catalog and library income runs through company-owned accounts, with a written login and handoff plan.

Good answer

The majority is work-for-hire and we can gather contracts for the big clients. Some older projects have informal splits that we need to paper before close.

Red flag

We do not get too deep into paperwork. Everyone knows what is fair, and we can sort rights out after the sale.

How Rejigg helps:Rejigg’s secure data room lets you share chains of title, split sheets, and assignability notes by buyer under NDA so issues surface early.

Will your best clients still book sessions if you’re not the name on the project, and how dependent is revenue on one person’s taste, ears, and client trust?

Deal-critical

Owner Dependence

What buyers determine

Buyers are pricing the risk that clients follow the founder and the founder is the default closer and fixer. They want evidence that relationships are spread across the team and that projects do not require the owner to rescue sessions late at night to hit deadlines.

How to prepare

Map top clients to relationship owners (who bids, who runs sessions, who handles notes, who delivers finals)
Introduce non-founder leads on calls and approvals now; document projects shipped without the founder driving
Write down the “only I do this” list and a training/coverage plan for each item
Define a post-close transition plan (consulting period, client intros, session attendance, handoff milestones)

Great answer

For our top 15 accounts, each has a named day-to-day lead plus a backup, and clients already communicate with them directly. Over the last six months, 70% of projects shipped with the founder off the session and off the final notes call, and we can show examples. Post-close, I will do joint client calls for the first 2–3 projects per key client, then shift to a defined advisory scope.

Good answer

Most clients still come through me, but the team runs a lot of sessions, and I am not always in the room. I can stay on for a transition and make introductions to other leads.

Red flag

They book us because of me. If I am not involved, I cannot promise they will stay.

How Rejigg helps:Rejigg helps you document a specific transition plan and track buyer expectations so the handoff is negotiated as a clear scope.

Show me your booking reality: room utilization, day rates, and what “booked” means.

Deal-critical

Booking Reality

What buyers determine

They are validating forward cash flow and real capacity. In studios, “booked” can mean paid days, soft holds, recalls, reschedules, or internal projects, and those behave very differently in cash. Utilization and realized rates tell a buyer whether the calendar turns into invoices reliably.

How to prepare

Create a 6–12 month utilization view by room/service: paid days, holds, cancels, recalls, and internal time
Calculate realized rates (collected, not list) and document discount/comp patterns
Summarize deposits, kill fees, and how often you enforce them in practice
Break down revenue by delivery model (day rates/lockouts, per-song, per-episode, retainers)

Great answer

Here are the last 12 months by room with paid session days, holds, recalls, and internal time, plus the realized average rate collected. Most bookings are deposit-backed, and late cancels trigger a defined fee. We can show a forward calendar that separates contracted and deposit-backed work from tentative holds.

Good answer

We are usually booked a few weeks out and can explain busy seasons and typical rates. We need to pull a cleaner report that separates paid sessions from holds and recalls.

Red flag

The calendar is always full, so we do not track utilization. Rates depend on the client.

How Rejigg helps:Rejigg’s deal workspace lets you package utilization proof and booking support in one place so buyers can underwrite the calendar.

Will the studio lease, build‑out, and location survive the ownership change, and how stable is your space: neighbors, noise rules, parking, load‑in, and landlord reality?

Deal-critical

Lease & Space

What buyers determine

For studios, the room is often the business. If the lease cannot be assigned or the space is fragile because of noise complaints, limited access, or neighbor pressure, the buyer is underwriting a relocation. They also look for cliff risk around renewals, rent steps, guarantees, and landlord consent.

How to prepare

Collect lease, amendments, and landlord contact info; flag assignment/change-of-control and consent requirements
Document build-out improvements, what stays/what must be removed, and any permits/inspection history
Log practical constraints: operating hours, noise complaints, HVAC/power issues, parking/load-in realities
Model occupancy costs and renewal timing (rent steps, options, deposits, guarantees)

Great answer

The lease has seven years remaining with two renewal options, and assignment requires landlord consent. We have already discussed the ownership-change process with the landlord and can outline timing and requirements. We have no unresolved noise complaints, and we have a written summary of hours, access, and load-in. Build-out and acoustic construction are itemized, including what stays and any permits or contractor records.

Good answer

The space works well, and we have not had major issues. We need to review the lease for assignment and renewal terms and confirm what the landlord will require.

Red flag

I am not sure if the lease transfers, but it should be fine. Noise and neighbors come and go.

How Rejigg helps:Rejigg keeps lease docs, build-out records, and space-risk notes organized so buyers can underwrite the facility without constant back-and-forth.

Who are the linchpins—mix engineers, producers, editors, and the studio manager—and who are the “can’t lose them” people?

Important

Talent Bench

What buyers determine

They are underwriting whether the same sound and client experience will continue after close. In many studios, one or two people carry the relationship and the quality bar, and that can be a real single point of failure. Buyers look for retention risk, especially when key contributors are contractors or have loose role definitions.

How to prepare

List key staff/contractors and what they do weekly (sessions run, QC, client comms, calendar ownership)
Document who is requested by name and which clients/projects depend on each person
Create cross-training coverage (templates, session docs, recall notes) for each key role
Prepare retention plan: comp adjustments, schedules, title/role clarity, and stay bonuses where appropriate

Great answer

Here are the five linchpins, what they do week to week, and which clients request them by name. Each critical role has documented workflows, including templates and recall notes, plus at least one trained backup. We also have a post-close retention plan with comp ranges and clear responsibilities so expectations stay stable.

Good answer

We know who the key people are, and we expect them to stay. Some workflow is documented, but we need clearer backups and a tighter retention plan.

Red flag

Nobody is irreplaceable. If someone leaves, we will just hire.

How Rejigg helps:Rejigg helps you share org charts, role docs, and retention-sensitive details securely so buyers can underwrite continuity without spooking the team.

Are your freelancers truly part of the engine, or just overflow?

Important

Freelancer Continuity

What buyers determine

Buyers are checking whether delivery depends on a small contractor bench that could vanish mid-album or mid-season. They want to see who is first call, how rates and turnaround are set, and how you prevent quality drift when work is handed off. Consistent rules and QC matter more when multiple editors and mixers touch the same show or record.

How to prepare

Catalog your freelancer bench: roles, typical availability, rates, tenure, and what work they cover
Standardize handoffs (file structure, naming, deliverables checklists) so contractors can plug in safely
Clarify contractor agreements, NDA/confidentiality expectations, and payment timing
Track contractor utilization and identify single points of failure for surge periods

Great answer

We have nine freelancers by specialty, with a clear first-call order, standard rates, and typical turnaround expectations. Every project uses the same file structure and delivery checklist, and QC is owned by named leads. We can show the last 12 months of contractor spend and which projects depended on specific people.

Good answer

We have a few regular freelancers we trust, and they are usually available. We need to document rates, handoffs, and surge coverage.

Red flag

We DM people when we need help. Whoever is free jumps in.

How Rejigg helps:Rejigg lets you share contractor bench details and SOPs under NDA so buyers can assess continuity without guessing.

Do you have repeatable project hygiene, naming, backups, recalls, and deliverables, and what does “quality control” mean here?

Important

Workflow & QC

What buyers determine

They are assessing whether a new lead engineer can open sessions, hit specs, and manage recalls without tribal knowledge. Audio workflow failures show up fast, like wrong versions, missing stems, loudness errors, or lost sessions. Buyers want checklists, templates, and proof backups actually restore.

How to prepare

Document file naming/versioning, deliverables checklists, and sign-off points for each service line
Prove backups are real (3-2-1 strategy, restore tests, retention policy) and define recall procedures
Standardize templates/export presets and store them in shared locations with ownership assigned
Write a security/access policy for client materials (restricted sharing, secure transfers, access logs as needed)

Great answer

We use standardized templates and a QC checklist by service line, including loudness targets and delivery specs. Sessions follow a consistent naming and versioning scheme, and we can show backup restore tests plus a retention policy for multitracks and stems. Recalls follow a documented process so any lead can reproduce the last approved version.

Good answer

We have some templates and mostly consistent file practices, and we keep backups. We need to formalize QC and recall steps so it is not dependent on one person.

Red flag

Everything is on drives and it has been fine. QC is listening carefully.

How Rejigg helps:Rejigg’s data room gives you a single place to store SOPs, QC checklists, and security policies so buyers can see the workflow is transferable.

How do you actually win work: reps, supervisors, agencies, or inbound, and what’s the real pattern of repeat work: series, seasons, campaigns, or ‘call us when you need us’?

Good to have

Growth Channels

What buyers determine

Buyers want to know where new projects actually come from and how fragile that pipeline is. In audio, repeatability often lives in cycles like podcast seasons, TV renewals, brand campaign calendars, and album release windows. Clear, trackable channels can raise price because the next owner can keep the flow going without guessing.

How to prepare

Break down leads by channel (supervisors, agencies, reps, referrals, inbound) and note key gatekeepers
Show repeat patterns by client (campaign cadence, seasonality, renewal triggers) and retention history
Document why you win (speed, taste, workflow, room, reliability) with examples/testimonials and credits
Identify capacity constraints (work you turn away) and the operational plan to capture it

Great answer

Work comes mainly from three channels, with named gatekeepers, and we can show how many projects each produced in the last year. Repeat work follows predictable cycles, like podcast seasons and brand campaign calendars, with clear renewal triggers and retention history. We turn away full-length album production due to capacity, and we have a plan to add coverage without changing turnaround or QC.

Good answer

We get a lot of referrals and some inbound, and our best clients tend to come back. We have not fully tracked channels or mapped renewal cycles yet.

Red flag

We do not really market. Work shows up, and growth will come from more outreach.

How Rejigg helps:Rejigg helps you present where your work comes from and how it repeats so you attract buyers who understand studio demand cycles.

Straight from buyer evaluations

“Nearly half the clients have been on retainer for years, some going back over a decade. When people stick with a production company that long, you know the work is genuinely good. That kind of loyalty is rare.”

Client LoyaltyBuyer impressed by long-term client relationships at a production company

“The team has almost no turnover, which is unheard of in this industry. The senior producers handle sessions and client relationships without the owner in the room. That told me this business runs on its own.”

Team StabilityBuyer seeing how well the team operates independently

“They set up their licensing deals so that income keeps flowing in for three to five years after the original project wraps. That's revenue you can count on without having to chase new work every month.”

Licensing IncomeBuyer impressed by ongoing licensing income at a music company

“The newsletter has over 150,000 subscribers, and it's directly driving new business. That's a built-in audience most audio companies would love to have, and it came with the business.”

Built-In AudienceBuyer seeing the value of a large engaged audience

“Everything is documented from session booking through final delivery and licensing. New team members can jump in and get up to speed fast without the owner supervising every detail. That kind of organization is what made me want to move quickly.”

Organized SystemsBuyer impressed by well-documented production processes

How buyers value this type of business

Where you land in that range depends on how much of your revenue comes from ongoing retainers and licensing versus one-off projects, and whether clients stay when you step back.

2x–7x

annual profit

Depending on client contracts, team, and how much runs without you

What drives a premium

Clients on long-term retainers
When clients pay you month after month on retainer, buyers see steady income they can plan around instead of wondering where the next project is coming from.
A team that sticks around
Producers and engineers who've been with you for years carry client relationships and studio knowledge that buyers can count on.
Clients spread across different industries
Working with clients in different fields means the business isn't dependent on any single company or sector.
Music or audio you own outright
A catalog of original compositions, sound libraries, or tools you've built generates income on its own and makes your business more attractive.

Common add-backs

Personal studio gear purchases that run through the businessRent above market rate on a studio space you ownFamily members on payroll who won't stay after the saleSoftware subscriptions used for personal projects

What the process looks like

5–8 months from listing to closemedian 201 days across closed deals

1
Listing
The day your business goes live on Rejigg.
2
First messageMedian: 4 days later
A buyer requests a conversation by sending a first pitch.
3
First callMedian: 7 days later
Your first completed call with a buyer to answer questions about your business.
4
Letter of intentMedian: 59 days later
A buyer submits an LOI and you choose to accept, decline, or negotiate.
5
Deal closeMedian: 89 days later
Assuming all is well in due diligence, you close the deal.

See the data behind this timeline in the 2026 Insight Report

Typical buyer types

Production companies looking to expand into new genres or add services like podcastingMedia companies that want full-service production under one roofFirst-time buyers with music industry experience who want established client relationshipsCompanies in advertising or content marketing looking to add audio production

Common questions about selling a Music & Audio Production business

What is a music production or audio studio business typically worth?

Most Music & Audio Production businesses sell on a multiple of cash flow. Smaller owner-operator studios are often priced on SDE, while bigger teams skew toward EBITDA. Price moves with founder dependence, client concentration, lease stability, and whether revenue repeats through retainers or ongoing series and seasons. Royalty or library income is usually valued separately based on statements and concentration. Rejigg’s <a href="/valuation" style="color: #1d4d05; font-weight: 600;">free valuation calculator</a> gives a quick range using real multiples and lets you separate rooms, services, and IP the way buyers do.

Can a buyer use an SBA loan to buy a recording studio or audio post shop?

Often yes, especially for service-driven studios and post shops with clean books and transferable client relationships. SBA lenders usually focus on documented cash flow, how dependent revenue is on the owner, and whether the lease can be assigned on acceptable terms. Deals that lean heavily on royalties or catalog can be harder because income can be spiky and harder to control. To sanity-check payments, down payment, and coverage, use Rejigg’s <a href="/sba-calculator" style="color: #1d4d05; font-weight: 600;">SBA loan calculator</a> before you anchor on price.

Do I need a broker to sell my studio?

You do not have to use a broker. Many brokers charge 5–10% to package the business, run outreach, and manage process, and some owners prefer to keep that control. What matters is having the same basics buyers expect: a clean narrative, a controlled NDA process, and a data room that covers financials, lease, rights, and ops. Rejigg provides pre-vetted buyers, digital NDAs, a secure data room, and offer comparison tools. Start with the <a href="/owners/owners-guide/prepare-to-sell-your-business" style="color: #1d4d05; font-weight: 600;">prepare-to-sell guide</a> to see what buyers will request.

How long does it take to sell a music & audio production business?

Many studio sales close in about 3–6 months once you go to market, but it depends. Lease assignment, landlord approval, rights cleanup, and heavy founder dependence commonly add time. The biggest drivers are how fast you can produce diligence materials (financials, lease, rights, client details) and how specific the transition plan is. Rejigg helps by staging documents in a built-in data room and letting you run buyer conversations in parallel with tracked next steps. The typical process is outlined in <a href="/owners/owners-guide/due-diligence-and-closing" style="color: #1d4d05; font-weight: 600;">due diligence and closing</a>.

Should I sell as an asset sale or a stock (equity) sale for a studio?

Many studio deals are asset sales because buyers want the gear, brand, and contracts while limiting exposure to older liabilities. Stock sales can make sense when contracts, accounts, or rights are difficult to re-paper, but buyers often ask for stronger reps and warranties. In Music & Audio Production, the real question is what actually transfers cleanly: the lease, software licenses, iLok access, library or distributor accounts, and any change-of-control clauses in client agreements. Talk to a tax pro and an attorney early, and keep a clear transfer list in your data room.

How are royalties or library income treated in a sale?

Most buyers underwrite royalties separately from service revenue. They want several periods of statements, an explanation of any big spikes, and a concentration view that shows whether income comes from a few titles or many. Many buyers model a conservative baseline from historical averages and treat one-off placements as upside. Be ready to show where payments land (PRO, library, distributor), which entity owns the rights, and who controls the logins. Rejigg’s data room makes it easy to share statements under NDA and keep title-by-title support organized.

What’s the typical down payment and seller financing in studio acquisitions?

For smaller studios, you commonly see a mix of buyer cash, bank or SBA financing, and seller financing. Seller notes are most common when the buyer wants comfort around client retention during the founder’s transition or when the deal has a few cleanup items that do not justify an earnout. Terms depend on how transferable the bookings are, how stable the team is, and whether lease and rights are clean. Rejigg’s offer comparison tools help you evaluate notes, earnouts, and timing side-by-side, not just headline price.

What is working capital in a music & audio production deal—and do I need to leave cash in the business?

Working capital is the cash buffer that keeps the studio operating between paying rent, contractors, and software, and collecting from clients. Timing mismatches are common, especially with agency payment terms, deposits versus final invoices, and seasonal work. Buyers may ask for a normalized working capital target so they are not funding day-one operations out of pocket. You typically agree on a target level of net working capital included at close, rather than leaving your personal cash behind. Clean AR/AP aging and deposit tracking avoids surprises.

How do buyers think about client concentration for studios and post shops?

Buyers look at revenue tied to the top 5–10 clients, and they also dig into who actually controls the work. In audio, that might be an agency producer, music supervisor, A&R, showrunner, or a post producer. Concentration can be fine when it is tied to repeat series or recurring campaigns, but it gets risky when the relationship sits with one gatekeeper or only the founder. Helpful proof includes multi-threaded relationships and repeat cycles across more than one account. Rejigg lets you share a sanitized concentration view under NDA while controlling client names.

What equipment is actually valued in a sale—and is it valued at cost?

Gear is usually valued at fair market value, not what you paid for it. Buyers pay the most attention to what drives bookings and keeps the room running, like tuned monitoring, key microphones, reliable computers and interfaces, and redundancy for backups. Boutique pieces do not always return dollar-for-dollar unless clients request them or they are core to the room’s identity. Expect questions on ownership versus leases, condition, maintenance, and any insurance claims. A clean inventory with serials speeds diligence and is easy to share in Rejigg’s data room.

Do plugins, DAW licenses, and iLok assets transfer to a buyer?

Sometimes, and it depends on the vendor. Many DAW and plug-in licenses are non-transferable, require a transfer fee, or require the account owner to approve the move, and iLok handoffs need careful planning around accounts, devices, and two-factor access. Buyers also care about template compatibility and whether archived sessions will open. A practical approach is to inventory every license, note transfer rules, and propose a post-close plan for re-licensing where needed. Keep license lists, vendor terms, and a handoff checklist in your data room for clean review.

How do earnouts work in creative audio businesses?

Earnouts can work, but they are worth structuring carefully in audio. If the metric depends on subjective calls like pricing discretion, relationship work, or “final ears,” disputes are common. If you use one, define exactly which revenue streams count (services versus catalog), set a short and clear measurement period, and lock down how discounting and write-offs are handled. Many sellers prefer seller financing plus a defined transition plan instead. Rejigg helps you compare earnout terms across offers and keep definitions explicit.

What transition period is normal after selling a studio?

A typical transition is 30–180 days, and it can be longer when the founder holds key relationships or is the final QC decision. The strongest transitions are specific: joint calls with top clients, sitting in on first sessions as support, and a written handoff of quoting, calendar ownership, and QC sign-off. If you plan a fast exit, buyers look for proof the team already runs client communication and delivery. Rejigg’s guidance in <a href="/owners/owners-guide/transitioning-after-the-sale" style="color: #1d4d05; font-weight: 600;">transitioning after the sale</a> helps turn that into a workable plan.

What are non-competes and non-solicits like in music & audio production deals?

Buyers often ask for non-competes and non-solicits because relationships and talent drive studio value. The details matter: geography (local work versus remote), the service scope (music, post, podcasts), and duration. In Music & Audio Production, broad restrictions can create real hardship if you still want to produce personally, so many deals narrow the restriction to the sold client base or specific services. It helps to decide what work you want to keep doing after the sale before final negotiation. Rejigg’s offer comparison view lets you weigh restrictive covenants alongside price and structure.

How do I keep the sale confidential so clients and freelancers don’t panic?

Confidentiality matters in studios because rumors can slow bookings and push freelancers to lock in other gigs. A staged process usually works best: share a high-level summary first, then release client names, rates, and rights details only after an NDA and basic buyer qualification. Rejigg supports this flow by pre-vetting buyers, collecting digital NDAs before access, and letting you control which documents each buyer can see in the data room. That keeps diligence moving without broadcasting the sale across your client and contractor network.

What documents will I need for due diligence on a recording studio sale?

Buyers typically ask for financial statements and tax returns, the lease and amendments, equipment inventory, contractor and staff lists, client concentration summaries, and a clear rights package. Studio-specific items often include utilization and booking evidence, pricing menus, deliverables and revision policies, QC checklists, and backup and retention procedures. If you have any known disputes, credit issues, or missing paperwork, flag them early with context. Rejigg’s <a href="/owners/owners-guide/due-diligence-and-closing" style="color: #1d4d05; font-weight: 600;">due diligence and closing</a> checklist plus built-in data room helps you upload once and reuse across buyers.

When is the best time of year to sell an audio production business?

Pick a window where recent results and the forward calendar are easy to explain, and you have time to respond to buyers. Many studios go to market after a strong season, when deposits and signed work show momentum, but the team is not in peak chaos. If your business is seasonal, like pilot season, awards pushes, Q4 brand work, or album cycles, avoid launching when you cannot assemble diligence quickly. Readiness matters more than the calendar: clean books, clear rights, and a believable transition plan. Rejigg helps you get sale-ready before you go live.

How do I price my studio if I have both services and a catalog/sample packs?

Most buyers value the service side based on cash flow from delivering new work, then add a separate value for catalog, sample packs, or library income using statements and durability. Treat each stream separately so margins and risk are clear, especially when the catalog has spikes from a few placements. Buyers usually underwrite hit-driven income conservatively and give more credit to diversified, repeatable earnings. Rejigg’s <a href="/valuation" style="color: #1d4d05; font-weight: 600;">free valuation calculator</a> helps you estimate a range by components, which matches how audio buyers model value.

How do I sell my music and audio production business?

What is my music and audio production business worth?

Most music and audio production businesses sell for 2 to 7 times annual profit. Where you land depends on how much of your income is recurring, how long your clients have been with you, how strong your team is, and whether the business runs without you. Use <a href="/" style="color: #1d4d05; font-weight: 600;">Rejigg</a>'s <a href="/valuation" style="color: #1d4d05; font-weight: 600;">free valuation calculator</a> to get a starting estimate.

How long does it take to sell a music and audio production business?

Do I need a broker to sell my music and audio production business?

What do buyers look for in a music and audio production business?

Will my clients stay after I sell my production company?

In most cases, yes. Buyers want your clients to stick around, which is why they look for situations where your producers and account leads already manage the day-to-day work. If your team already has strong relationships with clients, the transition feels natural. <a href="/owners/schedule-consultation-call" style="color: #1d4d05; font-weight: 600;">Talk to Rejigg</a> about how to plan for a smooth handoff.

What if one client makes up a big chunk of my revenue?

Do retainer contracts and licensing deals transfer when I sell my production company?

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