Sync licensing is the process by which music is licensed for use in visual media — film, television, advertising, video games and online video. When a track plays under a scene, an advert or a trailer, someone has negotiated a sync licence to make that happen. For musicians, it represents one of the most significant income streams in the modern industry. For anyone working in music professionally, understanding how it functions is not optional.
What Sync Licensing Actually Means
Synchronisation — sync, for short — refers to audio being synchronised with moving image. A sync licence grants a production company the right to use a specific piece of music in a specific context for a specific duration, territory and purpose. The licence is negotiated between the rights holder — usually the music publisher and the recording's owner — and the production company or music supervisor representing it. Fees vary enormously, from a few hundred pounds for a small online campaign to hundreds of thousands for a major advertising placement.
The Two Rights You Need to Clear
To license a track, two separate rights must be cleared: the synchronisation right (covering the composition — the melody and lyrics) and the master right (covering the specific recording). If you wrote and recorded the song yourself, you hold both. If you are signed to a label and have a publishing deal, the label controls the master and the publisher controls the sync right. Both must agree before the licence can be completed. This distinction catches many artists out when they first encounter sync licensing — understanding who controls what in your deal is essential before you can negotiate effectively.
How to Get Your Music Placed
Music supervisors are the primary gatekeepers for sync licensing in film and television — understanding their role is the most important first step in any sync licensing strategy. They receive pitches from publishers, sync agents and individual artists. Subscription sync libraries — Musicbed, Artlist, Epidemic Sound — handle placements in online and lower-budget video, paying artists a share of subscription revenue and sometimes additional per-placement fees. For independent artists without a publisher, working with a sync agent who pitches your catalogue directly to supervisors is a practical route. Building relationships with supervisors directly through industry events and music conferences is slower but valuable. For the basics of how the rights work, see the breakdown above; the key is to have your rights metadata in order before you start pitching.
Frequently Asked Questions
How much does a sync placement pay?
Fees vary enormously by context. A major national television advertising campaign can pay tens of thousands of pounds. A small online campaign might pay a few hundred. An indie film placement might pay between five hundred and five thousand, depending on the project's budget and profile. Subscription library placements pay much less per placement — often a few pounds — but can accumulate. The most valuable placements are major brand advertising campaigns and high-profile film and TV with international distribution.
Do I need a publisher to get sync placements?
Not necessarily, but it helps significantly. A publisher has established relationships with music supervisors and knows how to pitch effectively. They handle the administrative work of clearing rights and issuing licences. For an independent artist without a publisher, working with a sync agent — who pitches your music on your behalf for a commission — is the practical alternative. Some sync libraries accept direct submissions without a publisher or agent.
What kind of music gets placed most often?
Tracks with clear emotional character, no distracting lyrics in prominent placement (unless the lyrics are specifically needed), and good production quality. Instrumentals are often preferred for scenes where dialogue competes. Genres vary by project type — trailers use epic orchestral and hybrid electronic music; advertising uses whatever suits the brand identity; TV drama uses a wide range across mood and tempo. The best-placed artists tend to have catalogues with range rather than only one sound.
What metadata do I need before pitching?
You need clear information on who owns the master recording, who owns the publishing (composition), your performing rights organisation affiliation (PRS, ASCAP, BMI), ISRC codes for each recording and ISWC codes for each composition. The production company issuing the licence needs to be able to pay the correct parties quickly and accurately. Missing or incorrect metadata is the most common reason a potential placement falls through.
What is the difference between a sync fee and performance royalties?
The sync fee is a one-time payment made at the time of the licence — this is negotiated directly between rights holder and licensee. Performance royalties are generated subsequently each time the licensed piece is broadcast — these are collected by performing rights organisations like PRS in the UK and paid to the composition rights holder. A track in a television series can generate significant ongoing performance income on top of the initial sync fee, which is why television placements are particularly valuable.
Can I pitch music directly to music supervisors?
Yes, though it is more difficult without industry connections. Music supervisors receive large volumes of pitches and prioritise relationships with publishers and agents they know. Cold pitches to supervisors do occasionally succeed, particularly for specific projects where your track is a clear fit. Industry events — the Great Escape, SXSW, Music Moves Europe — provide opportunities to meet supervisors in a networking context. Building a relationship over time is more effective than a single cold pitch.
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