10 Real Questions I Get About Writing Songs for Sync
1. WHAT EXACTLY IS SYNC?
Sync, short for synchronization licensing, is the process of placing music in visual media like TV shows, movies, commercials, video games, and online content.
2. HOW CAN I GET MY SONGS HEARD FOR SYNC?
These are the people you want to find, as they are the ones looking for music to use for their content.
Music Supervisors- they work directly for the production company, network or directors who are creating the film, t.v. show or ad. These music supervisors meet with the director, producer, show runners etc. to discuss where and what kind of music they are envisioning for the various scenes and then they go out to their trusted sources to find the music. Those trusted sources might be publishers, labels, music libraries, sync. agents, artists and songwriters or sometimes even family and friends.
Music Libraries: they are essentially publishers but specialize in providing music to the music supervisors , networks, films, ad agencies etc. for sync.
Publishers: they can be large or small, corporate or indie and provide songs for artists but also pitch to sync. opportunities
Sync Agents: these people work with artists directly to secure placements for them.
If you are just getting started in sync. the best way to reach the decision makers (imo )is through music libraries or publishers. They are easier to access. After that you can try cultivating relationships directly with music supervisors and sync agents.
3. DO YOU USE A.I. WHEN WRITING SONGS FOR SYNC?
No. I don’t use A.I. for sync right now. Here’s why.
The rules around it are complex , murky and evolving at the moment, particularly around the copyright or in other words, ownership.
Copyright is the legal recognition that a creative work belongs to someone. In music, that usually means two separate but connected rights:
• The composition: lyrics, melody, and arrangement.
• The sound recording (often called the master): the actual audio recording of the performance.
Owning a copyright gives you control to license your work, collect royalties, and stop other people from using it without permission. Without copyright, you can’t prove ownership.
The U.S. Copyright Office has been clear that works created entirely by AI, with no meaningful human involvement, CANNOT be copyrighted. If a system generates a track from start to finish and there has been nothing creative added, then there’s no author. And if there’s no author, there’s no copyright. However, if a human contributes original creative input—such as selecting, arranging, or modifying the output—the resulting song can be copyrighted. The human contribution must be significant enough to be considered authorship under copyright law.
Now imagine you are a publisher. Why would you want to represent those songs if you can’t prove that the human contribution is significant enough?
Also, if you are a publisher (a provider of music) providing music to a music supervisor (a user of music) then it’s your job to present them with “cleared” music, meaning you have attributed all of the ownership of the music and lyrics from the writer/s involved. Well, point I’m making is with A.I. you wouldn’t want to take the risk.
And as of today, most publishers or providers of music will NOT take the risk.
4. HOW MUCH DO I HAVE TO WRITE TO BE SUCCESSFUL WITH SYNC?
That’s up to you really. What is success to you?
If you want to have a steady stream of money rolling in from the sync. royalties on both the front and back end, then you would need to have lots of songs in the “pipeline”.
But if you just want to pitch your album, to supplement your touring money, let’s say, then you could do that too. Maybe you’d get a lot of mileage from just that one album. I know some people who have.
If you can’t do a lot of the music yourself (like you just do the lyrics or just do production) I recommend looking for collaborators in order to maximize your output for sync. I wrote a post about collaboration …if you’d like to check it out.
5. IS WRITING FOR ARTISTS DIFFERENT FROM WRITING FOR SYNC?
Yes.
In writing for sync you write for “fit” as opposed to writing for artists where you want to write to create a “hit”.
When writing lyrics you want to be more general than if you are writing for “hits” (especially country music hits). You want to avoid naming places, cities, brands or things that might conflict with any given scene. For instance a song like “I Left My Heart in San Francisco” wouldn’t fit in a scene based in New Orleans.
Songs for sync do not take center stage. Most often it’s the actors, dialog and scenes. Music is the emotional addition to the scene.
I recommend just watching your favorite t.v. show, film or ad and listening and watching how the music fits into the overall scene or project.
6. WHAT ARE SOME OF THE BEST PRACTICES AND TECHNIQUES FOR SUCCESSFUL SYNC LICENSING?
Have a Game Plan of Writing, Recording and Pitching Your Music on a Continual Basis.
Get into a practice which fits well with your schedule and needs. Take advantage of small bits of time to create. There’s a lot you can do with just 15 minutes of extra time.
Create High-Quality, Well-Produced Music
Ensure your tracks are professionally mixed and mastered. Sync buyers look for polished music that fits seamlessly into media projects.Understand the Market and Trends
Research current trends in TV, film, advertising, and games. Tailor your music to styles and moods in demand, like upbeat pop for commercials or emotional instrumentals for dramas.Build a Diverse Catalog
Offer a variety of genres, moods, and tempos to increase your chances of fitting different sync opportunities. Make sure you get instrumental version and well as stems.Metadata is Key
Include accurate, detailed metadata—song title, genre, mood, instrumentation, keywords. Sync agents and music supervisors rely heavily on this to find the right tracks quickly.Network with Industry Professionals
Connect with music supervisors, sync agents, and placement companies at conferences, festivals, and online platforms. Relationships often lead to placement opportunities.Register Your Work Properly
Make sure your songs are registered with performing rights organizations (PROs) and have clear ownership to avoid legal complications during sync deals.Pitch Strategically and Professionally
Tailor your pitches to clients’ needs and only pitch relevant tracks. Provide easy access to your music through private links and keep your communications concise and professional.Utilize Sync Licensing Platforms
Submit your music to reputable online platforms that connect creators with content producers. Follow each platform’s guidelines to maximize exposure.Stay Persistent and Patient
Sync licensing is competitive; rejection is normal. Keep creating, refining, and pitching your music consistently.
By combining these techniques, you increase your chances of achieving successful sync licensing placements that can help grow your career and income as a music creator.
7. WHAT IF I USE SINGERS AND OTHER MUSICIANS ON MY SONGS?
If you are using singers and musicians to perform on your songs, you will need to have them sign a waiver if you want to pitch those songs for sync. There are lots of musicians who work “off the card”, meaning they will sign waivers so that you retain all the rights to your song and that whatever you pay the person/s for performing on your song is payment in full.
8. HOW LONG WILL IT TAKE ME TO GET MY FIRST PLACEMENT?
That can vary from person to person and how far along in the process you are. If you have good music but you haven’t pitched it to any music libraries, publishers, music supervisors etc.. then you’ll need to develop those relationships. That could take awhile but everybody has had to start there.
If you have relationships with them already, then it’s a matter of providing them with ongoing content so you have more chances of getting your music to the decision makers. And that is simply a process that you are in charge of.
9. WHAT RESOURCES ARE THERE TO UNDERSTAND THIS SPACE BETTER?
Understanding music synchronization (sync) is essential for any music creator looking to expand their reach and revenue. Great resources to dive into include industry blogs that break down licensing basics, podcasts featuring sync supervisors and music supervisors sharing insider tips, and online courses covering the legal and creative sides of sync placements. Additionally, joining forums and communities dedicated to sync can provide real-world experiences and networking opportunities. Whether you're aiming for TV, film, commercials, or video games, these resources will help you navigate the sync landscape with confidence.
I can recommend a great source for understanding more about this space by a person who I know and trust. Her name is Robin Fredericks and her book is called “Songwriting for Film & T.V.” . It’s an easy read and it’s comprehensive.
10. WHAT DO I NEED TO KNOW ABOUT THE BUSINESS OF SYNC?
The business of sync revolves around securing rights to use a song in a way that matches the timing and mood of the visual content. When writing for sync you are not in the music business, you are in the film/t.v./multi-media business. It’s important you know that difference.
Some other key things to know:
Rights involved: Sync licenses require permission from both the music publisher (who controls the composition rights) and the record label (who controls the master recording rights). If you own both, you can license directly; otherwise, you negotiate with multiple parties.
Revenue streams: Sync deals typically pay up-front fees and can include royalties if the media airs or streams widely. Fees vary greatly depending on the type of project, the artist's profile, and usage scale.
Exposure benefits: Sync placements can significantly boost an artist’s exposure, leading to streams, downloads, concert attendance, and brand opportunities beyond immediate income.
Negotiation flexibility: Terms can vary widely; duration, territory, exclusivity, and medium are all negotiable. Understanding these terms is critical for maximizing value.
Relationships matter: Building connections with music supervisors, publishers, and agencies is essential since many sync deals come through industry contacts.
Clear metadata: Accurate, detailed metadata on songs makes placement easier and ensures proper tracking and payments.