How to Get Sync Licensing Deals: The Producer's Complete Guide
From making your music sync-ready to pitching music supervisors and joining libraries — a practical roadmap for landing your music in TV, film, advertising, and games.
What Is Sync Licensing?
Sync licensing — short for synchronisation licensing — is the process of licensing your music to accompany visual media: TV shows, films, advertisements, video games, online content, trailers, and corporate videos. When your music plays alongside moving images, the rights holder of that visual content must pay for the right to synchronise your music with their visuals. That payment is the sync fee.
Sync licensing is one of the most financially significant revenue streams available to independent musicians and producers. A single well-placed track in a national TV commercial can generate more income than years of streaming royalties. A recurring background placement in a popular TV series generates both an upfront sync fee and ongoing performance royalties every time the episode airs.
Understanding how to access this market — and how to make your music attractive to the people who control it — is the focus of this guide.
The Two Revenue Streams in Sync
Every sync deal involves two separate rights and two separate payments. Understanding this is fundamental before pursuing any licensing opportunities.
The Sync Fee (Publishing / Composition Rights)
The sync fee is paid to the owner of the composition — the underlying song, melody, and lyrics. This is the publishing side. If you write your own music and publish it yourself, you own this right. If you have a publishing deal, your publisher owns some or all of this right. The sync fee is negotiated based on how the music is used, for how long, in what territory, and for what type of media.
The Master Fee (Master Recording Rights)
A separate master fee is paid to the owner of the specific recording being used — the actual audio file. This is the master rights side. If you record your own music and own your masters, you receive this fee. If you're signed to a record label that owns your masters, they receive this fee (and you may receive a portion under your contract terms).
Both fees are required for a placement. If you self-produce, self-write, and own all your masters — which is increasingly common for independent producers — you receive 100% of both sides. This is a significant advantage over signed artists whose labels control their master rights.
Performance Royalties
After placement, every time the visual content airs on broadcast television or in public venues, your PRO (Performance Rights Organisation — ASCAP, BMI, or SESAC in the US) collects performance royalties on your behalf. These are separate from and in addition to the sync fee, and can continue for years if the content continues to air. This is why a placement in a long-running TV series is particularly valuable — the performance royalties compound over time.
Making Your Music Sync-Ready
Before you approach a single sync library or music supervisor, your music and your rights must be in order. A placement opportunity that falls through because your rights are unclear or your samples are uncleared is a wasted opportunity — and supervisors who experience this problem with a writer don't come back.
Clear All Samples
Uncleared samples are the single biggest barrier to sync licensing. Music supervisors and their legal teams must be able to confirm that every element of a recording is cleared for use before they can license it. If your track contains a sample that wasn't formally cleared — even a very short sample, even something you believe falls under fair use — it cannot be licensed for sync without clearing it first.
Clearing a sample requires getting written permission from both the owner of the original recording (usually a label) and the owner of the original composition (usually a publisher). This process can be time-consuming, expensive, and sometimes impossible if the rights holders refuse. For sync purposes, the most practical approach is to make your sync catalogue entirely sample-free from the start. Use live recordings, original synthesis, sample packs with commercial licenses, or royalty-free elements you can prove you have the right to use.
Complete Your Metadata
Every track in your sync catalogue needs complete and accurate metadata. This isn't optional — music supervisors work on tight deadlines and cannot chase down rights information. If your track can't be identified, it can't be licensed.
Essential metadata for every track includes the track title, songwriter(s) with percentage splits, publisher name and contact, ISRC code (International Standard Recording Code, which uniquely identifies the recording), performing rights organisation affiliation, BPM, key, genre, mood tags, and instrumentation tags. Most sync libraries will require this information when you submit. Having it prepared in advance makes the submission process faster and presents you as a professional.
Prepare Stems and Alternate Versions
Music supervisors frequently need alternate versions of tracks. The vocal version may be too distracting for a dialogue-heavy scene but the instrumental version works perfectly. The full 3-minute version may need to cut to 30 seconds for a trailer. Having these versions prepared in advance significantly increases your placement opportunities.
Standard deliverables for a sync-ready track: full stereo mix (vocal version if applicable), full stereo instrumental, 30-second edit, 60-second edit, 30-second instrumental, and stems (separated instrument groups — drums, bass, keys, guitars, vocals — as individual stereo files). Not every library requires all of these, but having them ready shows professionalism and saves time when an opportunity arises.
Audio Quality Standards
For sync submissions, the audio quality standard is 24-bit WAV at 44.1kHz minimum. Many libraries and supervisors prefer 48kHz (the broadcast standard) or even 96kHz for premium placements. MP3s are generally not accepted for sync — libraries need lossless files for editing. Master your tracks to a reasonable level (-14 to -9 LUFS) with a true peak ceiling of -1.0 dBTP.
The Three Paths to Sync Placements
Path 1: Sync Libraries (Best Starting Point)
Sync libraries are companies that represent music catalogues to TV, film, and advertising clients. They have existing relationships with music supervisors, receive placement briefs, and pitch appropriate tracks from their catalogue. When a placement occurs, they take a commission on the sync fee — typically 25–50% — and pass the remainder to you.
The advantage for independent producers: sync libraries provide access to placement opportunities you couldn't reach on your own, without requiring an established industry network. The tradeoff is the commission and, in some cases, exclusivity terms.
There are two types of sync library arrangements. Non-exclusive means the library represents your music but you retain the right to submit it elsewhere simultaneously. Exclusive means the library is the sole representative of that specific track for the duration of the agreement. Non-exclusive libraries are generally safer for independent artists who don't yet know the quality of a library's placement record. Exclusive libraries may offer better placement rates but restrict your flexibility significantly.
Reputable Sync Libraries to Research
| Library | Type | Focus | Notes |
|---|---|---|---|
| Musicbed | Non-exclusive | Online video, advertising | Strong for content creators; subscription + sync |
| Artlist | Non-exclusive | Online video, film | Annual subscription model; high creator volume |
| Epidemic Sound | Exclusive (per track) | YouTube, social media | Pays upfront per track; no royalties after |
| Marmoset | Exclusive | Advertising, film | Curated; strong ad agency relationships |
| Musicbed (TV/Film) | Non-exclusive | TV, streaming platforms | Separate catalogue from creator-facing tier |
| Pond5 | Non-exclusive | Broad media | Self-serve marketplace model; set your own price |
Research each library thoroughly before submitting. Read their submission terms carefully — particularly exclusivity clauses, duration of agreement, and what happens to placements if you withdraw your music. Check independent forums and communities (the Facebook group "Sync for Indie Artists" is a valuable resource) for current producer experiences with each platform.
Path 2: Music Publishers with Sync Divisions
Music publishers don't just administer royalties — many have dedicated sync departments that pitch their catalogue to music supervisors. A publishing deal with a sync-active publisher provides access to their existing supervisor relationships, their knowledge of what supervisors are looking for, and their legal team's ability to clear placements quickly.
Traditional publishing deals require giving up a percentage of your publishing income — often 25–50%. Co-publishing deals are more common for established artists and involve sharing ownership of the copyright. Administration deals (where the publisher handles licensing but doesn't own the copyright) are available and may be more appropriate for producers with existing catalogues who need administrative support rather than creative pitching.
If a publisher approaches you, or you're considering approaching one, have a music attorney review any agreement before signing. Publishing deals are long-term commitments with significant financial implications — the terms matter enormously.
Path 3: Direct Supervisor Relationships (Long Game)
The highest-value sync opportunities — major studio films, national TV campaigns, streaming platform commissions — are typically filled through direct supervisor relationships. Music supervisors at this level receive hundreds of pitches daily and work primarily with trusted sources: publishers they know, managers they respect, and producers whose work they've seen in context.
Building direct supervisor relationships takes time and strategy. The Guild of Music Supervisors conference and similar industry events are the most effective in-person networking opportunities. Following supervisors on social media, engaging professionally with their public-facing content, and building a reputation through library placements that attract their attention are all components of a long-term strategy.
When you do reach out to a supervisor directly, specificity is everything. Don't send a generic email with a SoundCloud link. Research their recent work — find credits on IMDb Pro for the shows and films they've supervised — and pitch music that matches their established aesthetic. Show that you understand their work and have something genuinely relevant to offer. A brief, specific, professional email with a private download link (never an attachment) is the standard format.
What Music Supervisors Are Actually Looking For
Understanding the supervisor's perspective transforms how you approach your sync catalogue. A supervisor isn't looking for the best music — they're looking for the right music for a specific scene, on a specific deadline, with cleared rights and no complications. This changes everything about how you think about making sync-friendly music.
Lyrics That Don't Tell the Audience What to Think
Strong, specific lyrics that dominate the narrative are difficult to sync — they compete with dialogue and tell the audience how to feel in a way that conflicts with the director's vision. Supervisors often prefer instrumentals or tracks with abstract, atmospheric lyrics for dramatic scenes. Lyrics that are more evocative than literal — that create mood without being too specific — are valuable in sync contexts. This is why ambient, instrumental, and mood-based genres are disproportionately represented in TV and film placements.
Arrangement That Accommodates Edits
Music that has a natural intro that can be faded in, sections that can be looped, and an outro that can be cut cleanly is far more versatile than music with abrupt changes that don't allow editorial flexibility. Think about how your music would work over a montage: can it sustain energy for 90 seconds without feeling repetitive? Does the drop happen at a predictable, usable point? Does the ending feel resolved rather than simply stopping?
Authenticity in Genre
Music that authentically represents its genre beats music that was deliberately constructed to sound sync-ready every time. Supervisors have well-developed ears for music made to hit trend checkboxes versus music that comes from a genuine creative place. A track that genuinely embodies lo-fi, Americana, post-rock, or neo-soul will outperform a cynical version of those aesthetics. Make music you believe in, then assess whether it fits the sync market — not the reverse.
Production Quality
This isn't about budget — it's about clarity, intentionality, and technical standards. Music that sounds like it belongs in a professional context gets placed in professional contexts. Muddy mixes, clipping, poor-quality recording, and amateur-sounding production disqualify tracks regardless of the composition's quality. Your sync submissions should represent your best production work.
Pitching Strategy: What to Do and Not Do
Do
Research before pitching. Know the specific show, film, or supervisor you're targeting. Reference their work and explain specifically why your music is relevant. Keep emails short — one paragraph maximum. Include a private streaming link (Soundcloud, Dropbox, Google Drive) with download access. Follow up once, politely, after ten days. Build a professional website that clearly presents your music catalogue with filtering by mood, genre, BPM, and instrumentation.
Don't
Don't attach MP3 files to cold emails — large attachments are an immediate delete. Don't send mass blast emails to every supervisor address you can find — this is blacklist behaviour. Don't follow up multiple times or press for responses. Don't pitch music that isn't yet cleared. Don't misrepresent your music's rights situation. Don't pitch music that isn't relevant to the supervisor's known work. Don't ask supervisors to give feedback or explain why they didn't use your track.
PRO Registration: Non-Negotiable
Before you pursue any sync placement, you must be registered with a Performance Rights Organisation. In the US, the main options are ASCAP, BMI, and SESAC. Registration is free for ASCAP and BMI. Both are equivalent for most independent producers — the choice often comes down to which has a better reputation in your specific genre community.
When a sync placement airs on broadcast television, your PRO collects performance royalties from the broadcaster on your behalf and distributes them to you. Without PRO registration, these royalties accumulate uncollected or are distributed to other PRO members. Missing this step means leaving money on the table every time a placement airs.
Register every track in your sync catalogue with your PRO before submitting to libraries. Include your PRO and IPI number (your unique identifier in the PRO system) in your track metadata. This allows the library and supervisor to process the publishing side of the licensing agreement correctly. For more on copyright registration and rights, visit TruClarify.
Realistic Income Expectations
| Placement Type | Typical Sync Fee Range | Performance Royalties | Notes |
|---|---|---|---|
| National TV ad (featured) | $50,000–$500,000+ | Significant (national broadcast) | Both sync and master fee at full rate |
| Network TV show (background) | $1,500–$10,000 | Ongoing per airing | Background score vs. featured placement |
| Streaming (Netflix / Hulu) original | $3,000–$30,000 | Lower (streaming vs. broadcast) | Netflix pays flat fees; no ongoing broadcast royalties |
| Indie film (festival) | $0–$1,000 | Minimal | Often fees waived for credit and exposure |
| YouTube / online video | $50–$500 (via library) | Minimal | Volume-based; subscription model libraries |
| Video game (licensed music) | $500–$10,000+ | Varies by platform / media type | Depends heavily on game profile |
These figures represent both the master and publishing side combined — if you own both rights, you receive the full amount. If you go through a sync library, they take 25–50%. If you have a publisher, they take their share. Real numbers vary enormously based on negotiation, the production's budget, and the prominence of the placement.
Practical Exercises
Beginner — Sync-Ready Audit
Take your five best finished tracks and run them through this checklist: (1) Does this track contain any uncleared samples? (2) Do I have complete metadata for this track including ISRC and PRO registration? (3) Does this track have an instrumental version? (4) Is the audio quality at 24-bit WAV minimum? (5) Is the master within -14 to -9 LUFS with a -1.0 dBTP ceiling? Any track that fails one of these tests isn't sync-ready. Fix the failures before submitting anywhere. This audit alone will reveal how much work your catalogue needs before it can generate sync income.
Intermediate — Library Research and First Submission
Research three non-exclusive sync libraries: Musicbed, Artlist, and Pond5. Read their full submission guidelines, their terms of service (particularly exclusivity and royalty split clauses), and independent producer reviews on forums and Facebook groups. Choose the one that best suits your music and rights situation. Prepare one track to full submission standard — all versions, all metadata, audio files at spec — and submit it. The submission process itself is the most valuable education: the questions libraries ask reveal exactly what the industry needs from your music.
Advanced — IMDb Pro Research and Targeted Pitch
Subscribe to IMDb Pro (the industry version of IMDb, around $20/month) and use it to research the music supervisor credits on three TV shows or films whose musical aesthetic matches your production style. Note the supervisor's name and agency. Search for their professional contact or agency submission guidelines — many supervisors work through agencies that have submission portals. Craft three separate, targeted pitch emails — one for each supervisor — that references specific scenes or shows they've supervised and explains precisely why your music is relevant. Don't send yet. Have a trusted producer peer review them for professionalism and specificity. Then send. This exercise builds the muscle for direct supervisor outreach.
Frequently Asked Questions
How much money do sync licensing deals pay?
Sync fees vary enormously. A national TV commercial can pay $50,000–$500,000+ for a master use and publishing license combined. A background placement in a cable TV show might pay $500–$5,000. Streaming service placements typically pay $2,000–$30,000. Indie films often pay far less or nothing. Fees are always negotiated based on how prominently the music features, how long it's used, and what territory the license covers.
Do I need a music publisher to get sync deals?
No — you can self-publish and pitch directly to sync libraries and occasionally to music supervisors. However, a music publisher with sync relationships can significantly accelerate placement opportunities. If you're self-publishing, joining a reputable non-exclusive sync library is the most practical alternative for accessing supervisor networks.
What makes music sync-ready?
Sync-ready music has cleared rights (no uncleared samples), complete and accurate metadata including ISRC, both master and publishing rights with clear ownership, and alternate stems or versions (instrumental, 30-second edit). Music that requires sample clearance or has disputed ownership is very difficult to place quickly — and sync placements often happen on tight deadlines.
What is a music supervisor?
A music supervisor is the person responsible for selecting, licensing, and placing music in film, TV, advertising, and video game productions. They work with directors and editors to find music that serves the creative vision, then handle the licensing process. Music supervisors are the primary gatekeepers for sync placements in major productions.
What is the difference between a sync fee and a master fee?
A sync fee is paid to the owner of the composition rights — the songwriter or publisher. A master fee is paid to the owner of the recording — typically the label or the artist who owns their master. Both fees are required for a sync placement. If you write and record your own music and own both rights, you receive both fees.
How do sync libraries work?
Sync libraries represent catalogues of music to TV, film, and advertising clients. You submit your music, agree to their licensing terms (exclusive or non-exclusive), and they pitch it on your behalf. When a placement occurs, the library takes a commission — typically 25–50% of the sync fee. Non-exclusive libraries are generally safer for independent artists; exclusive libraries may offer better placement opportunities but restrict where else you can pitch.
Should I pitch to music supervisors directly?
Direct pitching to music supervisors is possible but requires more work and relationship-building. Most supervisors receive unsolicited submissions only through platforms like Musicbed, Artlist, or through industry contacts. The most effective path to direct supervisor relationships is through industry events, referrals from producers or publishers in their network, and by getting initial placements through libraries that build your credibility.
Can I get sync deals if my music has samples in it?
Uncleared samples make sync licensing nearly impossible. Music supervisors need to clear all rights before a placement proceeds — a production cannot risk copyright infringement. If your music contains samples, you must either clear them formally or create sample-free versions. Stem-based production that avoids samples entirely is the most sync-friendly approach.
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Frequently Asked Questions
A sync fee is a one-time upfront payment made when your music is licensed for a visual project, while performance royalties are ongoing payments collected by your PRO (Performing Rights Organization) each time the content airs. You need both a sync fee agreement and PRO registration to receive full income from sync placements.
Sync-ready music means your track has no uncleared samples, complete metadata, and available stems for mixing purposes. Before pitching, ensure you own all rights to your music, have stems separated, and include comprehensive track information (title, duration, genre, mood, instrumentation) to make supervision easier.
Start with non-exclusive sync libraries to build your portfolio and get placements, even though they take 25–50% fees. As your catalogue grows and you establish a track record, work toward direct relationships with music supervisors, which offer better revenue since you bypass the library's commission.
Placements happen on the licensor's timeline, not the producer's, so there's no guaranteed timeframe. You should expect to wait weeks to months for responses, and most submissions won't result in placements—patience and consistent submissions are essential to success.
Yes, non-exclusive sync licenses allow your music to be licensed to multiple projects at the same time. However, exclusive deals restrict use to a single project, which commands higher fees but limits your ability to monetize that track elsewhere during the exclusivity period.
Include the track title, duration, BPM, key, genre, mood descriptors, instrumentation list, and any notable features (e.g., vocals, orchestral elements). Complete metadata helps music supervisors quickly match your music to their project needs and increases the likelihood of consideration.
For specific contract review, rights clearance issues, or legal disputes, consulting a qualified music attorney is highly recommended. While library submissions are straightforward, direct supervisor negotiations and complex rights situations require professional legal guidance to protect your interests.
National TV commercials and major film placements typically generate the highest sync fees, often earning more than years of streaming royalties from a single placement. Recurring placements in popular TV series also provide significant income through both upfront fees and ongoing performance royalties from repeated airings.