How do you research and pitch to music supervisors for sync opportunities?

Two other useful sources of information are Deadline (for finding out which shows and movies are in production and when) and The Sync Report (for finding music supervisor contact details).

Research third-party licensing companies. They've already got long-standing relationships with the music supervision community, they'll pitch your music, negotiate the sync deal, and handle collection of the sync fees as well. And you don't have to pay them up front - they commission what they negotiate for you.

From 30+ years of experience in the music library and publishing business, we've learned to stay abreast of projects in production. Whether it's TV, film, or advertising, we're always reaching out to new opportunities for music pitching and placement. Through our many years in the business, we've come to know many of the best music supervisors in the industry. If we don't know someone directly, we typically know someone they also know and trust in the community, which allows us to reach out to them with a trusted reference. Once we know what a particular project is looking for, we do our due diligence, creating our own playlist of music that fits that project with as much accuracy and attention to detail as possible.

If you use the DISCO platform to share your music, then you are making it easier for most music supervisors, as it is the platform of choice. Ensure your metadata is up to speed too and you make it easier for us to work with you.

Diving into the world of sync, huh? Great move! So, you're looking to get your tunes into TV shows, movies & commercials. First off, research is key. Find out who the music supervisors are for the projects you're interested in. IMDb, LinkedIn or industry directories are your friends. Once you've got your list, dig deeper. What kind of music do they usually go for? What projects have they worked on? Tailor your pitch accordingly. Show them you've done your homework. When you reach out, keep it concise but compelling. Introduce yourself, mention a bit about your music, and explain why it's a perfect fit. Include a link to your portfolio or a couple of standout tracks. Don't forget to follow up. Polite persistence can go a long way.

Keep it concise and professional; aim for a brief email (3-5 sentences) highlighting your music and its suitability for their project. Personalize your approach; address the music supervisor by name and mention a specific project you're interested in. Briefly explain why your music would be a good fit. Include relevant information; include a link to your website or portfolio where they can easily access your music. Briefly mention 1-2 specific tracks that would be a good fit for their project. Proofread carefully; ensure your email is free of typos and grammatical errors.

Building relationships is key! It is important to remain respectful and professional even if your track is not selected. Don't take it personally. In my experience, when I've built a relationship with one supervisor, that individual recommends me to another supervisor which allows for my network to grow. A growing network may lead to more opportunities.

Be patient; don't expect an immediate response. Music supervisors are busy, so be respectful and allow them time to review your pitch. Consider a follow-up email; after a week or two, you can send a polite follow-up email. However, avoid being overly persistent. Build relationships; attend industry events, network with other musicians and professionals in the music industry, and participate in online communities to connect with music supervisors and build lasting relationships.

This is great advice. As an indie artist sync is a valuable revenue stream. I have had the opportunity to sign with a publisher however I wasn't comfortable with giving away the publishing rights for perpetuity. So I am now looking for opportunities to work with music supervisors direct who are looking for a folk rock guitar, hammond and violin Big Sky back drop to their project. This advice is really useful in giving artists an idea of how to present the tracks and what you need to have ready, background info, metadata and your terms. Really good to know about where you can find out more about the work music supervisors are doing so you're pitching music to the right people for right projects.

Licensing basics; familiarize yourself with the basics of music licensing for synchronization, including licensing fees, royalty structures, and split sheets. Clear your rights; ensure you have the necessary rights and clearances to license your music for sync opportunities. This might involve obtaining permission from co-writers, producers, or sample owners.

The songwriter can refer the writer of the lyrics and the writer of the music like producers or composers of the instrumental portion of a song.

If you have a large catalogue of songs and a little bit of a budget, then try DISCO or Chordal to organise your pitches. You can format playlists to include everything a music supervisor needs, including your artist bio, your contact details, and most importantly all of the rightsholder information. If a Music Supervisor likes your track but doesn’t think it works for the current project, they can easily add your music from your DISCO or Chordal account to their own account and keep it on file for a future project.

Accurate information; ensure your music files and online profiles have accurate and descriptive metadata, including genre, mood, and keywords relevant to potential sync placements. Highlight suitability; consider adding a "sync licensing" section to your website or portfolio showcasing tracks specifically suited for sync opportunities.

Stay updated; keep up with current trends in music supervision and the sync industry. Attend workshops or webinars, and read industry publications to stay informed. Refine your approach; analyze your results and refine your pitching strategy based on what works and what doesn't.

Following trends is great to stay updated in the dynamic sync music industry, but setting trends will always be the zenith of artistic innovation and influence.

Don’t focus exclusively on music supervisors! There are other people involved in the sync process who might be able to help make your music visible to music supervisors and/or directors. Music editors cut music into scenes, and often they’re doing this by placing music temporarily into the scene to see what kind of thing works. They will then show this to the supervisor, and quite often they end up going with the ‘temp track’ because it works perfectly! So, try to connect with editors too. Music coordinators are also a great connection to make. Very briefly put, they assist the supervisor in the clearance process, but are far less likely to have people sending them music. However, if they like your tracks, they can recommend them for use.

Consider using online platforms; several online platforms connect artists with music supervisors and facilitate the sync licensing process. Research and evaluate these platforms before using them. Seek professional representation; while not essential, having a music manager or sync agent can help you secure sync opportunities and navigate the negotiation process.

The following five genres are often popular choices for licensing across various media: POP music is known for its catchy melodies and broad appeal, making it suitable for a wide range of projects, including commercials, TV shows, and films ROCK music, with its diverse sub-genres, can convey a range of emotions and atmospheres, making it a popular choice for scenes that require energy, intensity, or a classic feel. EDM are frequently used in commercials, films, and TV shows, especially for scenes with a modern, upbeat, or high-energy vibe. HIP-HOP is versatile and often chosen for projects seeking a contemporary and urban feel. It can be used in various contexts, from action scenes to advertisements. ORCHESTRAL enhance storytelling.