Sure, you’re on Spotify, you’re on the radio, maybe your last TikTok went viral… but there’s something missing. Is there a revenue stream you’re overlooking? One that can pay thousands on a single placement? Is this too good to be true!?
WHAT IS SYNC LICENSING?
Sync licensing is when someone pays to use your music alongside visual or other content (Think TV shows, video games, podcasts, YouTube videos, Ads, etc).
Every time you’re moved to tears by a car ad or hear a movie montage soundtrack so good you have to Shazam it, someone is getting paid. Sync in popular media can be wildly influential, with songs featured in recent TV shows charting on the Billboard Hot 100 or gaining traction years after their release date. Do you recall the hype for Kate Bush and Running Up That Hill after that Stranger Things season?
"'The Big Bang Theory' absolutely changed everything for me," Robertson tells Rolling Stone. "It's been like having a number one hit multiple times a year, every year for the past decade. It's the gift that keeps on giving."
How the money works
When your music is licensed for sync, you can earn in two ways:
Sync Fee (Upfront): A one-time payment for the right to use your music. This can range from $50 for a small YouTube channel to $50,000+ for major ad campaigns. Most mid-tier placements common with independent musicians sit somewhere between the $500-$5,000 range.
Performance Royalties (Backend): Every time your content airs, you earn performance royalties (If you need a reminder, we covered performance royalties in our last newsletter). These can add up significantly over time*, especially for TV placements, which can consistently generate royalties for years.
* make sure you’re well versed in what % your distributor takes on master and performance royalties so that there are no surprises
Is your music sync-ready?
Before you dive in, let’s make sure everything is in order
✔️ Own your masters: This is where it doesn’t hurt to be an independent artist, because you probably already do! Negotiations are faster when the same entity owns both the master recording and publishing rights.
✔️ Register your songs: Ensure every song is registered with your PRO (SOCAN) and your publisher (if you have one). There’s no use in earning royalties if you have no way to collect them.
✔️ Metadata is king: Make your list and check it twice. Your files need to be properly tagged because music supervisors use these tags to search libraries. If your tag is missing, your music won’t show up. We covered A LOT of metadata specs in the last newsletter… It’s worth reviewing.
✔️ Have stems ready: I know what you’re thinking… whoa, what on earth is a stem? Many supervisors will want tracks with individual elements of your songs (vocals only, instrumental only, drums only, etc), and those are called stems. If you’re considering experimenting with tracks at your next live show, knowing all about stems will come in handy!
✔️ Instrumentals: Sure, it’s not uncommon for media to have songs with lyrics throughout. But having an instrumental-only version of your track increases your chances of placement tenfold.
96 Sunfire - The Honest Heart Collective
Here’s what I’m listening to this week
96 Sunfire by The Honest Heart Collective
A modern rock band from Thunder Bay, Ontario, with a heavy history and a sheer will like no other.
How to get your music in front of supervisors
Music Libraries: Non-exclusive libraries like MusicBed, Artlist, Epidemic Sound, and Pond5 license music for online content. They handle the pitching, you just upload and wait.
Sync Agencies & Licensing Reps: These entities pitch your music directly to music supervisors on your behalf. They take a commission (typically 25-50%), but they have contacts you simply can’t reach without them. If you’re approaching agencies yourself, look for those that align with your genre.
DIY Pitching: You can pitch directly to music supervisors (but it takes hustle). Follow supervisors on LinkedIn, Instagram, X… it’s not unlikely they’ll post when looking for specific sounds or trying to fill certain placements. This is also a great way to learn about industry events with sync-focused programming. A cold pitch could look something like this…
Now, even if you get the perfect pitch down to the perfect music supervisor for the perfect show where your music would fit just perfectly, don’t expect a listen, let alone a reply…
Why? Well, because for one, they don’t know you. But, more so, they’ve been burned too many times by well-intentioned but ignorant artists.
General Tip: Built relationships, not just pitches. Follow up, be professional, and play the long game… basically how you should approach all networking & professional connections.
Thanks for your attention! I know it’s a big ask these days.
If I missed something important, or if you have a recommendation on what I should cover next, just hit reply ⌯⌲
-Lauren (saying it into the mic 🎤 )
