Sync Licensing Companies vs Music Libraries: Which Is Right for You?
Compare sync licensing companies and music libraries side by side. Learn the differences in exclusivity, income potential, control, and acceptance to decide which path - or combination - is best for getting your music into film, TV, and ads.
Tools 4 Music Staff
Tools 4 Music Team
If you want to get your music into film, TV, and advertising, you have two main options: sign with a sync licensing company or submit to music libraries. Both can lead to placements, but they work very differently in terms of exclusivity, income potential, and how much control you retain over your catalog.
This guide breaks down both paths so you can make an informed decision. It builds on our beginner's guide to sync licensing and connects to our sync licensing companies directory and sync fee calculator.
Sync Licensing Companies Explained
A sync licensing company (also called a sync agent or sync representative) actively pitches your music to music supervisors, ad agencies, and production companies. They maintain relationships with the people who select music for visual media, and they respond to sync briefs on your behalf.
How Sync Companies Work
- You submit your music for consideration
- The company reviews and selects tracks that fit their catalog
- When a sync brief comes in from a supervisor, the company pitches relevant tracks from their roster
- If your track is selected, the company negotiates the sync and master use fees
- Fees are split between you and the company, typically 50/50
Types of Sync Companies
Boutique sync agencies represent smaller catalogs (around 50 to 500 artists) and provide more personalized attention. They often specialize in specific genres or media types. Examples include Zync Music, Terrorbird Media, and Crucial Music.
Large sync companies manage massive catalogs (thousands of artists) and have teams dedicated to different media sectors. They have broader reach but less personal attention per artist. Examples include Position Music, Musicbed (which also operates as a library), and Songtradr.
Publisher-sync hybrids combine traditional publishing services with sync representation. Companies like Downtown, Kobalt, and Sentric offer sync pitching alongside publishing administration, mechanical collection, and other services.
What Sync Companies Look For
Sync companies are selective because their reputation depends on the quality of what they pitch. They typically want:
- Professionally produced and mastered tracks
- Instrumentals available for every vocal track
- Clear ownership with no sample clearance issues
- One-stop clearance (you own both publishing and master)
- Unique sound that fills a gap in their existing catalog
- Consistent output so they can build a relationship with you over time
Music Libraries Explained
A music library (also called a production music library or stock music library) is a collection of pre-cleared music that supervisors, editors, and content creators can browse and license directly. Instead of actively pitching your music, libraries make it available for self-service licensing.
How Music Libraries Work
- You submit your music to the library
- If accepted, your tracks are added to their searchable catalog
- Supervisors and content creators browse the catalog by mood, genre, tempo, and instrumentation
- When they find a track they want, they license it directly through the library's platform
- You receive a share of the licensing fee
Types of Music Libraries
Exclusive libraries require you to grant them exclusive rights to license your music for sync. In return, they often provide higher per-placement fees, more active pitching, and better catalog promotion. Examples include APM Music, Extreme Music, and FirstCom.
Non-exclusive libraries allow you to submit the same tracks to multiple libraries simultaneously. This maximizes your exposure but typically means lower per-placement fees and more competition within each library. Examples include Pond5, AudioJungle, and Epidemic Sound (for creators).
Hybrid platforms like Musicbed and Artlist offer elements of both models. They may have tiered licensing with different fee structures depending on the use case.
Pricing Models in Music Libraries
Per-license fees: The supervisor pays a set fee per track, per use. You receive a percentage (typically 35–50% for non-exclusive, 40–60% for exclusive).
Subscription models: Services like Artlist and Epidemic Sound charge content creators a monthly or annual subscription for unlimited music access. Your royalties are calculated based on your share of total usage within the platform.
Blanket licensing: Some libraries negotiate blanket deals with networks or production companies, covering all uses for a flat annual fee. Your share is calculated based on actual usage data.
Sync Companies vs. Music Libraries: Head-to-Head
Income Potential
- Sync companies generally deliver higher per-placement fees because they negotiate custom deals for each use. A single TV placement through a sync company might pay $2,000 to $20,000.
- Music libraries typically generate smaller individual payments but can produce more frequent placements. A library placement might pay $50 to $2,000 depending on the library and use type.
Over time, a productive music library catalog can generate steady passive income, while sync company placements tend to be less frequent but more valuable per placement.
Control and Exclusivity
- Sync companies may or may not require exclusivity. Many boutique agencies operate on a non-exclusive basis, meaning you can work with multiple companies. Some request exclusive sync rights for specific territories or media types.
- Exclusive music libraries require you to pull your tracks from other libraries and sometimes from streaming platforms. This limits your flexibility but often results in better promotion and higher placement rates within that library.
- Non-exclusive libraries give you maximum flexibility. You can submit the same tracks everywhere and retain full control.
Active vs. Passive
- Sync companies are active. They pitch your music to specific opportunities, respond to briefs, and build relationships with supervisors. Your success depends partly on how actively the company champions your music.
- Music libraries are largely passive. Your music sits in a searchable catalog, and its success depends on metadata quality, the library's search algorithm, and how many supervisors use that particular library. Some premium libraries do active pitching as well, blurring the line.
Acceptance and Competition
- Sync companies are harder to get into but have less internal competition. If you are accepted, your music competes against a curated catalog rather than thousands of similar tracks.
- Non-exclusive libraries are easier to join but have massive internal competition. Your indie folk track is competing against thousands of other indie folk tracks for the same search results.
- Exclusive libraries fall in between. They are selective in what they accept, but once you are in, your music benefits from a more curated catalog.
Which Path Is Right for You?
Choose Sync Companies If:
- You produce high-quality, commercially viable music
- You want higher-value placements (TV, film, national ads)
- You are willing to wait longer for placements
- You want someone actively pitching your music
- You have a unique sound that stands out from typical library music
Choose Music Libraries If:
- You want to generate passive income from your catalog
- You produce music that works well for background use (corporate videos, YouTube, podcasts)
- You are comfortable with lower per-placement fees in exchange for higher volume
- You want to start getting placements quickly
- You create music in genres that are in constant demand (ambient, corporate, upbeat pop)
The Combined Approach
Many successful sync artists use both paths simultaneously:
- Submit your best, most unique tracks to sync companies for active pitching
- Place your broader catalog in non-exclusive music libraries for passive income
- Use exclusive libraries strategically for tracks you have specifically produced for library use
This approach maximizes both the quantity and quality of your placements. Just make sure exclusive agreements do not conflict with each other.
Getting Accepted by Sync Companies
Build a Sync-Ready Catalog
Before approaching any company, make sure your catalog meets professional standards. Review our guide to creating music for sync for production tips.
- Have at least 10 to 20 sync-ready tracks
- Include instrumentals for every vocal track
- Prepare stems if possible
- Organize metadata thoroughly (mood, tempo, genre, key, similar artists)
- Clear all rights and document ownership
Research and Target
Do not blast your music to every sync company. Research which companies represent music similar to yours and focus your submissions.
- Browse our sync licensing companies directory to find companies that match your genre
- Listen to their existing catalog to understand their aesthetic
- Check which TV shows, films, and brands they have placed music in
- Follow their submission guidelines exactly
Professional Presentation
- Send high-quality audio files (WAV preferred) or secure streaming links
- Include a brief, professional cover note
- Highlight that you are a one-stop shop (if you own publishing and masters)
- Provide links to your streaming profiles for context
- Follow up once after two to four weeks, then move on if you do not hear back
Frequently Asked Questions
Q: Can I submit to sync companies and music libraries at the same time?
A: Yes, as long as you do not have exclusive agreements that conflict. Many artists submit their standout tracks to sync companies and place their broader catalog in non-exclusive libraries. Just keep track of which tracks are committed to exclusive deals.
Q: How much money can I make from music libraries?
A: Income varies widely. A productive catalog of 50 to 100 tracks in quality non-exclusive libraries might generate $500 to $5,000 per year passively. Exclusive libraries with active pitching can generate significantly more. Use our sync licensing fee calculator to model different scenarios.
Q: Do music libraries own my music?
A: No reputable library should ask for ownership of your copyright. Exclusive libraries require exclusive licensing rights (the right to license your music), but you retain ownership of the composition and master. Read contracts carefully and avoid any deal that transfers copyright ownership.
Q: How long does it take to start earning from a music library?
A: Most artists see their first library placements within 3 to 12 months of submission, depending on the library's size and how searchable your tracks are. Sync companies typically take longer because they are pitching to specific opportunities that may not arise immediately.
Q: Should I create music specifically for sync, or submit my existing releases?
A: Both approaches work. Your existing releases may land placements if they are well-produced and have clear rights. However, music created specifically for sync (with instrumentals, multiple versions, and sync-friendly structures) tends to perform better in libraries. Check our production tips for sync for guidance.
Q: What is the typical commission for a sync company?
A: Most sync companies take 25 to 50 percent of the sync and master fees. The industry standard is 50/50 for the sync fee and 50/50 for the master fee. Some companies take a smaller cut but may charge upfront fees or require exclusive rights.
Make Your Decision and Start Submitting
The best approach depends on where you are in your career and what kind of music you create. Sync companies offer higher-value opportunities with more competition at the door. Music libraries offer faster access with lower per-placement returns.
For most independent artists, a mixed strategy works best. Start with non-exclusive libraries to build your sync resume, then approach sync companies once you have a polished, sync-ready catalog with proven commercial appeal.
Next Steps
- Browse sync licensing companies in our directory
- Read our beginner's guide to sync licensing for fundamentals
- Learn production tips for sync to create music supervisors want to license
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