Short answer: You get sync deals by making music that's easy to clear, getting it in front of supervisors through one of four routes (agents and publishers, libraries, direct pitching, brief boards), and following up for a long time. Sync is a pipeline business.
Sync licensing means your music is placed in a TV show, film, ad, trailer or game. The permission that makes it legal is a sync license. Here's the full path, in order.
Step 1: Own what you're pitching
A supervisor needs to clear a track fast. Before you pitch anything:
- Master: you own 100% of the recording, or have written permission from everyone who does.
- Composition: you own the song, or you know every co-writer's split and they've signed off.
- No uncleared samples.
- Splits written down. Berklee's advice: get your splits straight before anyone asks.
If a supervisor can't clear it with one email, they move on to the next track.
Step 2: Make the track sync-ready
What supervisors consistently want:
- Clear emotion. A mood a scene can use: tense, hopeful, nostalgic, triumphant.
- Clean, uncluttered production that leaves room for dialogue.
- Instrumental and stems. Instrumental versions are non-negotiable, and stems let editors shape the cue.
- Accurate mood and genre in metadata.
- Broadcast-quality mix.
Lyrics should read clearly and not be too tied to one story. Berklee also notes the difference between a "sync artist" (writes for placement) and a "synced artist" (an artist whose song gets placed). Know which lane you're in.
Step 3: Fix your metadata
Metadata is how your song gets found in a database search. Include:
- Title, artist, writers, publishers and split percentages.
- Genre, mood, tempo/BPM, instrumentation, keywords.
- ISRC (recording ID) and ISWC (composition ID) where you have them.
- Contact email on every file.
- PRO registration (ASCAP, BMI, SESAC, or your local one).
Keep a simple spreadsheet and attach metadata to every file you send.
Step 4: Choose your route
| Route | Pros | Cons |
|---|---|---|
| Sync agents and publishers | Higher fees, relationships | Selective, take a cut, slow |
| Music libraries | Easier entry, volume | Often lower fees; some are exclusive |
| Direct pitching to supervisors | You keep control and 100% | Needs relationships and persistence |
| Brief boards | Real requests, fast feedback | Competitive, response windows are short |
Exclusive vs non-exclusive. Non-exclusive deals usually keep more doors open since the same song can be placed elsewhere. Exclusive deals can pay off with the right partner but lock you in, sometimes for years and sometimes with a large share of backend royalties. Read before you sign.
Step 5: Pitch like a professional
- Short email. Link to the song. Mood, tempo, where it fits.
- State that it is cleared and available for sync.
- Attach nothing unless asked. Provide a private streaming link.
- Respond to briefs exactly. If a brief asks for female vocal, mid-tempo, hopeful, send that, not your favorite.
- Keep your reply fast. Deadlines are tight.
Step 6: Understand the money
- Upfront sync fee paid for the license.
- Performance royalties through your PRO when a show airs. A cue sheet is how those get tracked, so make sure the production files one.
- Backend in library deals.
(Our guide "How much does sync licensing pay?" has the fee ranges.)
Step 7: Build a system
Sync rewards repeatable systems: a catalog of sync-ready tracks, a tracking spreadsheet of who got what, a monthly pitching rhythm and fast replies. Berklee has a phrase for the payoff: sync begets sync. One placement makes the next easier.
Watch your contracts
Look for: exclusivity and term length, territory, revenue split, whether the deal covers master, composition or both, and whether you can still license elsewhere. Avoid pay-to-submit schemes where no supervisor is actually listening.
Realistic timeline
Months to well over a year for a first placement is normal, depending on volume and fit. Pitched by hand, a song can take 18 months or more to land. Most people quit before the pipeline fills.
What we'd do
Pick 10 of your cleanest, most emotional tracks. Build instrumentals and stems. Fix metadata. Submit to two libraries (non-exclusive) and pitch 5 supervisors or brief boards a week. Track everything. Give it a year.
FAQ
Do I need a publisher or agent to get sync?
No, but they open doors that are hard to open alone.
Do I need to join a PRO?
Yes. Without one, performance royalties from broadcasts have no home.
What songs sync best?
Clear emotion, clean production, easy to clear, with instrumental and stems.
Are pay-to-submit sync sites worth it?
Be careful. A fee is acceptable only if real supervisors review the submissions and you can verify placements.
Is AI-generated music OK for sync?
Rules vary and are changing. Check each platform's terms and supervisors' policies before submitting.
How long does a first placement take?
Months to over a year. Consistent pitching beats occasional pitching.
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