Sync Licensing – The definitive Guide from Phil Loutsis.

Forgive me starting with the basic but I wanted this to be super accessible – we’ll move quickly after a little scene setting…

Sync licensing is when you allow your music to be “synchronized” with visual media — TV shows, adverts, films, video games, streaming content etc. You get paid for this usage and need to register with publishing companies to make the most of it and for the most part, early stage artists find opportunities through agencies and/or synch agents. So let’s get stuck into the subject and how you get positioned well to get some love for your tunes.

Note that for independent artists, sync is one of the best ways to make meaningful income from your catalogue. It also puts your music in front of new audiences, increases the value of your songs, and can lead to more opportunities (like brand partnerships, collaborations, or even new deals).

Sync is very competitive – surprise. 😱 Supervisors (the people who choose the music for projects) need music that is legally clean, properly formatted, instantly accessible, and emotionally on point for their project. If you’re not prepared, your track won’t make it to the shortlist.

This guide walks you through exactly how to prepare, where to pitch, and how to move from “decent catalogue” to sync-ready artist. I strongly suggest reading through this article and if your interest is piqued connect with the platforms outlined and also a synch expert who can give you bespoke support.

Note: This article is taken from the The Team Around You Substack that you can sign-up to for free… 

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This is relevant for you – here’s why 👇

Sync isn’t just about a single cheque. It’s about building multiple revenue streams and increasing the long-term value of your music.

• Upfront fees: These are paid when your music is licensed. For independents, this can range from a few hundred pounds for small placements to tens of thousands for major campaigns.
• Ongoing royalties: Every time your music is broadcast or streamed as part of visual content, you earn performance royalties (collected through PRS and other societies).
• Audience growth: A placement in the right show, ad, or game can expose your music to millions of people overnight.
• Catalogue value: A sync-ready catalogue makes you more appealing to labels, publishers, and investors.

What sort of synch opportunities are there (and How Much They Pay)?

Sync isn’t one-size-fits-all. Here are the main types of placements you can target:

• Television – Songs placed as background cues, themes, or in trailers. Typical fees: £500–£5,000 + royalties.
• Film – Includes soundtrack placements or trailer use. Indie films often pay £1,000–£10,000, while major studios may pay £5,000–£50,000+.
• Advertising – Music for brand campaigns, social ads, or online marketing. Fees vary hugely: £250–£100,000+, depending on campaign size and brand.
• Gaming – Tracks used in games, esports content, or game trailers. Typically £500–£10,000.
• Streaming Platforms – Netflix, Amazon Prime, Disney+, etc. These can pay £1,000–£25,000, depending on usage and territories.
• Corporate/Branded Content – Music for internal videos, events, or promotional material. Usually £500–£5,000.
• Podcasts & Audio Content – Theme songs or transitions for podcasts or audio dramas. Usually £200–£2,000.

Step 1: Get Your Rights in Order (Non-Negotiable)

Supervisors only work with tracks that are “clear for licensing.” This means no legal complications, disputes, or unapproved samples.

You’ll need to:

• Register with collection societies:
• PRS for Music – Collects your performance royalties. (£100 fee, or £30 if under 25).
• MCPS – Collects mechanical royalties when your music is reproduced for sync. (£100 fee).
• PPL – Collects royalties for recordings and performers (free to register).
• Sign split sheets: Every songwriter and producer must agree in writing who owns what percentage of each track.
• Get session agreements: Anyone who played on your recording must sign a “work for hire” or session agreement.
• Clear samples: If your track uses samples, they must be cleared with the original rights holders.

If you can’t confidently say “I own/control 100% of this track and can license it immediately”, you aren’t ready to pitch it for sync.

Step 2: Prepare Your Music for Sync

File Types You Need

Supervisors need options — and they need them immediately:

• MP3 (192kbps+) – For pitching (quick listening).
• WAV/AIFF (16/24-bit) – For final use.
• Instrumentals – Every track should have a vocal-free version.
• Clean versions – If your lyrics are explicit, create clean edits.
• Optional: Stems – Individual parts of the track (e.g., vocals, drums).

Metadata (Your Music’s ID Card)

Metadata is how your tracks are found in libraries and playlists. Incomplete metadata = missed opportunities. There’s a template here that you can copy to get started capturing all your metadata for synch opportunities.

Include:

• Song title & artist name
• Genre & sub-genre
• Moods (uplifting, tense, dreamy, etc.)
• BPM & key
• Lyrical themes (e.g., love, empowerment, rebellion)
• Instrumentation
• ISRC codes & PRS/MCPS work IDs
• Ownership details (who controls publishing & master rights)
• Contact info (email + phone)

Production Standards

• Mix and master to broadcast quality.
• Avoid long fade-outs (supervisors need clean endings).
• Make sure your tracks have dynamic sections (builds, drops, breaks) — these make your music more usable.

Step 3: Organize Your Catalogue Professionally

Random Google Drive folders won’t cut it. You need a professional hub for your music, where links don’t expire, files are properly labelled, and metadata is included.

Recommended tools:

• DISCO – The industry standard for pitching music. Lets you tag tracks by mood, genre, and rights info.
• Bridge.audio – Great for cataloguing and sharing large libraries.
• Dropbox Pro – Cheaper, but less search-friendly for supervisors.

Organize your music by mood, genre, and potential use (e.g., “Upbeat Indie Pop – Good for Ads”).

Step 4: Where to Find Sync Opportunities

There are three main routes into sync: agents, libraries, and DIY pitching. Here’s what that means:

1. Sync Agencies (They Pitch for You)

These companies represent your music to supervisors and handle the pitching/admin side. They usually work on a commission basis (taking a cut of the upfront fee).

• Music Gateway – A UK-based platform that works with Disney, Netflix, Universal, and others. They require a subscription and handle licensing on your behalf.
• A&G Sync – A boutique UK agency with strong TV/streaming placements (Netflix, BBC). They accept submissions via email.
• Bodega Sync – A US agency connected to Symphonic Distribution; great for North American placements.
• Nova Music – A UK agency known for high-profile TV placements (Love Island, BBC).

2. Production Music Libraries (They License at Scale)

Libraries are massive catalogues that supervisors search when they need tracks. They often take either exclusive or non-exclusive rights (read contracts carefully).

• Audio Network – One of the largest UK libraries (280,000+ tracks).
• Music Vine – A curated UK-based library for film, TV, and branded content.
• Epidemic Sound – Huge platform for YouTubers, advertisers, and brands.
• Artlist – Popular with content creators and indie filmmakers.

3. DIY Platforms (You Pitch Yourself)

If you want to stay fully independent and keep all control, these platforms help you pitch directly:

• Songtradr – A global marketplace for music licensing with AI-driven matching.
• UnitedMasters SELECT – A distribution platform with strong connections to gaming sync opportunities.

Step 5: How to Approach the Industry (Without Burning Bridges)

• Send only your best 2–3 tracks (not full albums).
• Use streaming links (DISCO or similar). Don’t send attachments.
• Keep emails short (under 100 words). Supervisors are busy.
• Include your rights status (“I control 100% of publishing and master”).
• Wait at least 3 weeks before following up — and when you do, send new music, not a reminder.

Step 6: Build Your Network

Many sync opportunities come from relationships.

• Attend conferences like AIM Sync (UK’s leading sync market).
• Follow supervisors on LinkedIn/Twitter and engage professionally.
• Research trends on Tunefind (see what’s being placed in your genre).

Your Sync-Readiness Checklist

1. Register with PRS, MCPS, and PPL.
2. Sort your rights: signed split sheets, session agreements, sample clearance.
3. Create multiple versions: WAV, MP3, instrumentals, clean edits.
4. Add metadata to every track.
5. Upload to DISCO or Bridge.audio and organize by mood/genre.
6. Research & shortlist 10 agents/libraries that fit your music.
7. Prepare a 2–3 track playlist for pitching.
8. Write concise outreach emails with clear rights info.
9. Follow up professionally (and keep pitching new music).
10. Network and learn: Attend AIM Sync, follow supervisors, and stay updated.

📚 Further Reading & References

Sync Licensing Agencies & Platforms

Catalogue Management & Pitching Tools

DIY Sync Licensing Platforms

Music Licensing Basics & Rights Management

Sync Licensing Conferences & Networking