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Sync Licensing FAQ — Clear Answers for Artists & Labels (USA & Germany/Europe)

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Sync licensing, music in Film TV & Ads written in white on a brown picture
Sync Licensing, Filmmusic, TV & Ads

Table of Contents

1. What is a sync license — and whose rights are involved?

A sync license allows your song (both master recording and composition) to be used in visual media — films, ads, trailers, TV, or games. Both rights must be cleared.
Parties involved include the artist, co-writers, publisher, label, music supervisors, and sometimes sync agents.
(trackclub.com)

2. Who is a Music Supervisor — and what do they do?

A Music Supervisor curates and licenses music for visual media. They:

  • Spot where music fits in a project
  • Negotiate sync and master licensing deals
  • Manage budgets and clear all rights
  • Provide cue sheets for royalties

They are the creative-legal bridge — your music needs to be clearly ready (preferably “pre-cleared”) to get their attention.
(trqk.io, masterclass.com)

3. Who is a Music Publisher — and what do they do?

A Music Publisher manages the composition rights. They:

  • Register songs and composers
  • License composition usage: sync, performance, mechanical
  • Collect royalties (via PROs)
  • Often take a percentage share of income (e.g., 20–30%)

They safeguard songwriting rights and income, while Music Supervisors handle creative selection and licensing in projects.
(syncrmusic.com, soundcharts.com)

4. How does sync licensing differ in the USA vs Germany/Europe?

USA

  • Sync licenses often cover the composition only; master rights are negotiated separately.
  • Deals are typically one-off and handled via publishers, labels, or sync agents.
    (benjamingroff.com)

Germany/Europe

  • GEMA manages composition rights; GVL manages performer/master rights.
  • Rights are transferable for usage but remain with the author (“übertragbar, aber unveräußerlich”).
    (feiyr.com)

5. How much can sync placements pay?

Payouts vary widely:

  • Small indie placements: a few hundred USD
  • TV shows: $500 – $20,000
  • Trailers: $10,000 – $80,000
  • Ads: $20,000 – $500,000+
  • Video games: $2,000 – $10,000

Big campaigns can reach six figures; indie projects may only offer symbolic fees but provide exposure and PRO royalties.
(aristake.com)

6. How do I pitch effectively?

  • Keep emails short and professional
  • Subject line: descriptive (“Cinematic track for trailers”)
  • Send 2–3 tracks via a single streaming/download link (no attachments)
  • Include metadata: mood, BPM, one-stop status, availability of instrumentals
  • Follow up politely after 1–2 weeks if no reply

Supervisors prefer “one-stop” tracks (where one party controls both master and publishing).
(medium.com)

7. Common artist questions — quick answers

  • Is sync realistic for indie artists?
    Yes — if your rights are clear, your music is professional, and you’re persistent.

  • Supervisor vs Publisher — who does what?
    Supervisor selects & licenses music for projects; Publisher manages composition rights & royalties.

  • Do I need GEMA or a PRO?
    Yes. In Germany, GEMA (composition) and GVL (performance) are essential for royalty collection.
    In the US, ASCAP/BMI/SESAC handle performance royalties.

  • What are realistic sync fees?
    From a few hundred to six figures, depending on project and usage.

  • How do I start?
    Register works with a PRO, prepare metadata + instrumentals, and pitch via agents/libraries or direct to supervisors.

8. Platforms to submit your music for sync

Here are established platforms where you can submit your tracks to be discovered:

  • Music Gateway — Sync opportunities, direct pitches, revenue share 50–80%.
  • Songtradr — Global marketplace; set your own sync fees.
  • Syncr — Submit quickly to active briefs.
  • Jamendo Licensing — European platform, 65% share to artists.
  • Broadjam — Offers sync submissions, contests, and feedback.
  • APM Music — Large production music library (used in TV/film).

These platforms connect you with supervisors, agents, and brands actively searching for music.
(trqk.io, releaseloop.com)

Conclusion

Sync licensing can be a powerful revenue and exposure opportunity if you prepare your catalog properly.

  • Know the difference between Supervisors and Publishers
  • Understand the US vs Germany/Europe systems
  • Set realistic expectations on fees
  • Pitch professionally with one-stop ready tracks
  • Use reputable platforms to get your music in front of decision-makers

With the right preparation, your songs have a real chance of finding their way into film, TV, ads, or games worldwide.

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