One of the most important decisions you'll encounter when submitting music to music libraries is whether to work with exclusive or non-exclusive companies. If you're new to sync licensing, the difference between the two can seem confusing, and you'll often hear conflicting opinions about which approach is better.

The truth is that both models can work. I've worked with different types of licensing companies throughout my career, and I don't believe there's a universal rule that says every musician should only pursue exclusive deals or only pursue non-exclusive deals. What matters is understanding exactly what you're agreeing to and deciding whether the arrangement makes sense for your music, your catalog, and your overall sync licensing strategy.

Before signing any music library agreement, you should understand the difference between these two models and the advantages and disadvantages of each.

What Is An Exclusive Music Library?

An exclusive music library generally requires you to give that company exclusive representation rights for the music covered by your agreement. During the term of the agreement, you typically can't give another music library the right to represent the same tracks for the same uses covered by the contract.

The exact meaning of "exclusive" can vary considerably from one agreement to another. Some deals involve exclusive representation of particular tracks, while others can involve publishing rights, specific territories, particular markets, or other restrictions. This is why it's important to read the actual agreement rather than assuming you understand a deal simply because someone describes it as exclusive.

An exclusive agreement doesn't necessarily mean the company owns your master recording. It also doesn't automatically mean you're permanently giving away your music. Exclusivity and ownership are separate issues, and the specific rights being granted should be clearly defined in the contract.

What Is A Non-Exclusive Music Library?

A non-exclusive music library generally allows you to continue representing the same music through other non-exclusive companies, subject to the terms of each agreement. This can give you considerably more flexibility when you're building your licensing network.

For example, you might have the same instrumental track represented by several non-exclusive libraries, potentially exposing it to different clients and markets. One library might have strong relationships in reality television, while another has clients in advertising or online media.

This flexibility is one of the main reasons many independent musicians are initially attracted to non-exclusive libraries. Instead of putting a track in one catalog and waiting, you can potentially create multiple pathways through which that music can be discovered.

However, more representation isn't automatically better. Working with several companies also creates additional administrative responsibilities and potential conflicts that need to be managed carefully.

Advantages Of Exclusive Music Libraries

One potential advantage of an exclusive relationship is that the library knows it's the only company representing that particular piece of music within the scope of the agreement. Depending on the company and the deal, that can make the track easier to manage and pitch.

Some established libraries operate primarily or entirely on an exclusive basis. If a company has strong clients, consistent licensing activity, and a good reputation, giving it exclusive access to certain tracks can make sense.

Exclusive libraries may also invest more effort in organizing, tagging, pitching, and developing a catalog when they know they're not competing with several other companies representing exactly the same music. This isn't guaranteed, however. Signing an exclusive agreement doesn't automatically mean the library will actively pitch your music or generate placements.

The quality of the company matters much more than the word "exclusive."

Disadvantages Of Exclusive Music Libraries

The obvious disadvantage of exclusivity is that you're limiting what you can do with the music while the agreement is in effect. If the company doesn't generate opportunities for the track, your music can potentially sit in a catalog without producing income while you're prevented from placing it with another company.

That's why the details of the agreement matter so much. How long does the exclusivity last? Can the agreement be terminated? Does it automatically renew? What happens to your music after termination? Are there restrictions on where else you can license it?

An exclusive agreement with an excellent company can be valuable. An exclusive agreement with a company that does very little with your music can be frustrating.

Don't sign an exclusive deal simply because someone is willing to offer you one. Evaluate the company as carefully as the company is evaluating your music.

Advantages Of Non-Exclusive Music Libraries

The biggest advantage of non-exclusive representation is flexibility. You're generally able to pursue multiple licensing relationships for the same music, provided those relationships don't conflict with one another.

For an independent musician building a sync licensing network, this can be attractive. Instead of relying on one company to generate every opportunity, you can potentially have several libraries exposing your music to different clients.

Non-exclusive relationships can also allow you to experiment. Over time, you can see which companies generate activity, which ones communicate well, which markets respond to your music, and where your catalog performs best.
This can be particularly useful when you're starting out because sync licensing often involves discovering where your music fits within the marketplace. The company you initially expect to generate the most activity isn't always the one that ultimately produces your best opportunities.

Disadvantages Of Non-Exclusive Music Libraries

The flexibility of non-exclusive representation also creates potential complications. If the same track exists in several catalogs, you need to keep careful records of where it's represented and under what terms.

Pricing conflicts can also become an issue. You don't want the same piece of music being offered to the same client through different companies at dramatically different prices. That can create confusion and potentially undermine relationships.

There can also be issues involving metadata, Content ID, alternate titles, publishing registrations, and identifying which company was responsible for a particular opportunity. The more places your music exists, the more organized you need to become.

This doesn't mean non-exclusive representation is bad. It simply means that "I'll put my music everywhere" isn't a strategy by itself.

You still need to understand every agreement you sign.

Can You Work With Exclusive And Non-Exclusive Libraries At The Same Time?

Yes, depending on the terms of your agreements. Many musicians divide their catalogs strategically rather than choosing one model for everything they create.

You might give one group of tracks to an exclusive library while placing a different group with non-exclusive companies. You might write music specifically for an exclusive catalog while maintaining another catalog that you control and represent elsewhere.

This is one reason I encourage musicians to think of their catalogs as assets. You don't necessarily need to make the same decision for every song you write.

As your catalog grows, you have more options. A musician with five finished tracks has much less flexibility than a musician with fifty or one hundred tracks that can be divided among different opportunities.

Should You Rename Tracks For Different Libraries?
Some non-exclusive libraries may request alternate titles or make other changes to help distinguish their version of a track. This can sometimes make catalog administration easier, but it can also create complications if you aren't keeping careful records.

If the same composition exists under several titles, you need to know exactly where each version is represented and how the underlying composition is registered. You also need to understand how the library handles publishing, performance royalties, Content ID, and cue sheet information.

Again, organization matters.

The larger your licensing catalog becomes, the more important it is to maintain accurate records of every track, alternate title, agreement, library, and ownership arrangement.

What About Retitling Libraries?

Retitling was historically a common model among some non-exclusive music libraries. A library could register an alternate title for a composition while the songwriter retained the underlying ownership, allowing different companies to collect the publisher's share associated with placements they generated.

The music licensing industry has evolved considerably, however, and rights administration, digital identification systems, and licensing technology have made some of these arrangements more complicated than they once were.

If you're presented with a retitling arrangement today, don't assume it's automatically good or bad. Understand exactly how the company registers the music, how royalties are collected, what happens if the agreement ends, and whether the arrangement could create conflicts with other companies representing the same composition.

This is another area where reading the actual contract matters more than relying on general rules you find online.

Which Model Generates More Sync Placements?

There isn't a meaningful universal answer to this question. A great exclusive library with strong clients can generate far more opportunities than ten mediocre non-exclusive libraries. A strong network of non-exclusive libraries can also outperform an exclusive company that rarely pitches your music.

The better question is whether the company you're considering has the ability to create legitimate opportunities for the type of music you make.

Look at the company's catalog, clients, placements, history, and reputation. Understand where its music is being used and whether your catalog makes sense for the markets it serves.

The business model matters, but the quality of the relationship matters more.

How I Approach Music Library Agreements
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I don't believe musicians should be afraid of exclusive agreements, but I also don't believe you should give exclusivity away casually. If a company wants exclusive control over a piece of music, there should be a good reason for you to believe that relationship has value.

The same principle applies to non-exclusive libraries. The fact that you can place your music with twenty companies doesn't mean you should. I'd rather have music represented by a smaller number of strong, appropriate companies than scatter it across dozens of catalogs that aren't generating meaningful opportunities.

Every agreement should serve a purpose within your larger strategy.

Before signing, understand what rights you're granting, how long the agreement lasts, how you get out of it, how revenue is divided, what happens to the music after termination, and whether anything in the agreement could interfere with your other licensing relationships.

If you don't understand something in a contract, ask questions before signing it. For important agreements, particularly those involving substantial rights or long-term commitments, getting qualified legal advice can also be worthwhile.

Finding The Right Music Libraries

Whether you decide to pursue exclusive libraries, non-exclusive libraries, or a combination of both, finding companies that are actually appropriate for your music is one of the most important parts of the process.

Don't measure your progress simply by the number of libraries that accept your music. A catalog sitting in fifty irrelevant libraries isn't necessarily more valuable than a catalog represented by five companies with the right clients and relationships.

Research companies before approaching them, listen to the music they represent, understand their markets, and pay attention to their submission requirements. The objective isn't simply to get your music accepted somewhere. It's to build relationships that can realistically lead to licensing opportunities.

I've put together a separate guide to Music Libraries Accepting Submissions that goes deeper into finding appropriate companies, researching libraries, and determining where your music might fit.

I've also created a step-by-step guide on How To Submit Music To Music Libraries that covers preparing your tracks, approaching companies, organizing your metadata, and making stronger submissions.

Those two resources are a good place to start if you're currently building your music library network.

One of the most common questions I hear from independent artists and composers who are interested in sync licensing is simple: How do I actually submit my music to music libraries? The basic process isn't particularly complicated, but there are a lot of ways musicians can make the process more difficult than it needs to be.

I've been licensing music for more than 20 years, and one thing I've learned is that sending more submissions doesn't necessarily lead to more opportunities. The musicians who tend to make the most progress are the ones who identify appropriate companies, understand what those companies are looking for, prepare their music properly, and consistently make well-targeted submissions.

If you're ready to start submitting your music to music libraries, here's how I recommend approaching the process.

Make Sure Your Music Is Ready
Before you start searching for music libraries, take an objective look at the music you're planning to submit. Music libraries generally aren't development companies. They're looking for finished music they can potentially begin representing, pitching, and licensing to their clients.

Your tracks should be professionally recorded, produced, mixed, and mastered. That doesn't mean everything needs to sound like it was recorded in a million-dollar studio, but your music does need to compete sonically with the other music being considered for television, films, advertisements, trailers, and other media.

If you're submitting vocal songs, it's also a good idea to have instrumental versions available whenever possible. Instrumentals are frequently used in sync because dialogue and other elements of a scene can compete with vocals. Depending on the type of music you create, libraries may also eventually request stems, alternate mixes, shorter edits, or other variations.

You don't necessarily need to prepare every possible version before your first submission, but you should be capable of providing these assets if they're requested.

Make Sure You Control The Rights
Before anyone can license your music, they need to know who owns it. There are two primary copyrights involved in a recorded song: the copyright in the underlying composition and the copyright in the master recording.

If you wrote and recorded everything yourself, ownership may be relatively straightforward. If you worked with co-writers, producers, labels, publishers, or other collaborators, things can become more complicated. Make sure you know exactly who controls both sides of the music before you begin submitting it.

If there are co-writers, know their ownership percentages. If another party controls the master, know who needs to approve a license. If you've used samples, make sure they're properly cleared.

Music that sounds fantastic but can't be cleared efficiently is much less useful in sync. The easier you make the clearance process, the easier you make it for music libraries, supervisors, and their clients to work with you.

Find Music Libraries That Fit Your Music
This is where I see a lot of musicians waste time. They find a large list of music libraries and start sending their catalog to every company they can find without considering whether their music actually makes sense for those companies.

Different libraries specialize in different genres, markets, and types of placements. One company might primarily represent cinematic orchestral music, while another specializes in indie artists and singer-songwriters. Other libraries may focus heavily on reality television, advertising, trailers, hip-hop, electronic music, or production cues.

Before submitting, spend some time on the company's website. Listen to its catalog if it's publicly available, look at the company's placements and clients, and read its submission guidelines. Try to understand where the company fits within the larger sync licensing industry.

Then ask yourself whether you can realistically imagine your music being part of that catalog. If the answer is no, move on. If the answer is yes, you've potentially found a company worth approaching.

Find Music Libraries That Are Accepting Submissions
Finding a great music library doesn't necessarily mean you can submit music to it today. Submission policies change frequently, and some libraries maintain open submissions while others only accept music during certain periods or work primarily through referrals.

Always check a company's current submission policy before contacting them. Don't assume information from an old directory, forum, blog post, or social media discussion is still accurate. Whenever possible, go directly to the company's website and verify its current submission instructions.

This is also one of the reasons I created The Sync Lab. Finding appropriate music libraries and keeping track of companies that accept submissions can take an enormous amount of time, particularly when you're trying to do everything else required to build a career as an independent musician.

Free members of The Sync Lab get access to our Music Library Directory, featuring companies accepting music submissions, along with my four-hour Ultimate Music Licensing Guide and additional sync licensing resources.

You can join The Sync Lab completely free at:

https://www.thesynclab.com/

Follow The Submission Instructions
Once you've found a company you want to approach, take a few minutes to carefully read its submission instructions. This sounds incredibly basic, but you'd be surprised how many musicians ignore this part of the process.

If the library asks for three tracks, send three tracks. If it asks for streaming links, send streaming links. If it has a dedicated submission form, use the form. If it asks you to include specific information about yourself or your music, provide exactly what it requests.

Don't assume that finding someone's personal email address and bypassing the company's submission process will somehow give you an advantage. In many cases, it accomplishes the opposite. Companies establish submission procedures because that's how they want to receive music, and following those instructions is one of the easiest ways to demonstrate that you're professional and easy to work with.

Lead With Your Strongest And Most Relevant Tracks
Don't make someone listen through twenty songs to figure out whether you're a good fit for their catalog. If a library allows you to submit three tracks, send the three tracks that best represent what you can offer that particular company.

Those aren't necessarily your three personal favorite songs. Think about the library's catalog and clients. If the company specializes in emotional television placements, send your strongest emotional tracks. If it specializes in advertising, think about which tracks have the energy, structure, lyrics, and production that could realistically work in commercials.

Your submission should make it easy for the person listening to understand why your music belongs in that company's catalog. The more clearly your music answers that question, the stronger your submission becomes.

Keep Your Pitch Short And Professional
Musicians sometimes spend more time worrying about their pitch email than they do selecting the music they're going to submit. Your initial pitch doesn't need to be complicated.

Briefly introduce yourself, explain what type of music you're submitting, provide the requested links, and include any relevant information the company needs to know. You don't need five paragraphs explaining your musical history, every artist you've ever played with, why you started writing songs, or how passionate you are about music.

The people reviewing submissions are often extremely busy, so respect their time. Your job isn't to convince someone that your music is great through an email. Your job is to make it easy for them to press play, understand what you're offering, and decide whether your music makes sense for their catalog.

Get Your Metadata Organized
Metadata becomes extremely important once your music enters the licensing ecosystem. At a minimum, you should have accurate information about the track title, artist, writers, publishers, ownership percentages, PRO affiliations, contact information, and master ownership.

Depending on the library, you may also need information about genre, mood, tempo, instrumentation, lyrics, explicit content, and other characteristics. Good metadata helps libraries organize your music and, more importantly, find it when an appropriate opportunity comes along.

Imagine a music supervisor contacting a library and asking for an uplifting acoustic indie song about starting over. The library needs to be able to search its catalog and quickly identify tracks that might work. If your metadata is incomplete or inaccurate, your music becomes harder to find even after you've successfully gotten it into the catalog.

Don't Send The Same Submission To Every Library
You can absolutely submit different parts of your catalog to different companies, and in many cases you probably should. If you write in several styles, one library might be a great fit for your cinematic instrumentals while another is better suited to your vocal indie tracks.

Think of your catalog as inventory. Different companies serve different markets, and your job is to match the right music with the right company.

This is much more strategic than simply sending the same playlist to every music library you find. You may ultimately make fewer submissions, but the submissions you do make will have a much greater chance of being relevant.

Keep Track Of Your Submissions
Once you start submitting regularly, create a system for tracking your activity. Record the company, submission date, tracks submitted, contact information, response, follow-up date, and any relevant notes.

You don't need sophisticated software to do this. A simple spreadsheet or submission tracker can work perfectly well. What matters is being organized and knowing where your music has been sent.

If you pursue sync licensing consistently for several years, you could eventually contact hundreds of companies. Without a system, it becomes extremely difficult to remember who received what and when. Treating your sync licensing activity like a business will make the entire process much easier to manage over time.

What If A Music Library Doesn't Respond?
One of the hardest things for musicians entering sync licensing to adjust to is the amount of silence. You may submit music to a company, wait for a response, and never hear anything back.

That doesn't necessarily mean your music is bad. The library may already have enough music in your genre, your tracks might not fit what its clients currently need, or the company may simply have received hundreds of submissions that week. Someone may even like your music but not have an immediate need for it.

There are countless reasons you may not hear back, so don't build your entire sync licensing strategy around the response to one submission. If a company provides guidelines about following up, follow them. Otherwise, give people reasonable space and continue pursuing other opportunities.

The goal is to consistently create situations where something can happen instead of waiting for one particular company to determine whether you move forward.

Quality Beats Quantity
There's nothing wrong with contacting a lot of music libraries over time. In fact, building a large network of relationships can create considerably more opportunities for your music.

But don't confuse activity with progress. Sending one hundred poorly targeted submissions isn't necessarily better than sending ten excellent ones.
Research the companies you're approaching, understand their catalogs, prepare your music properly, follow their submission instructions, and send your strongest relevant tracks. Then continue the process consistently as your catalog and network grow.

Sync licensing is rarely about finding one magical company that changes everything overnight. It's about gradually building relationships and creating more pathways through which your music can be discovered and licensed.

Find Music Libraries Accepting Submissions
One of the biggest challenges musicians face is simply knowing where to look. There are hundreds of music libraries, publishers, sync agencies, and licensing companies operating throughout the world, and researching all of them individually can take an enormous amount of time.

That's one of the problems I've designed The Sync Lab to solve. I've spent more than 20 years working in music licensing and more than 15 years teaching musicians how the business works, and The Sync Lab brings together the resources, research, training, and opportunities I've developed through that experience.

You can join completely free and get access to our Music Library Directory featuring companies accepting music submissions, along with my four-hour Ultimate Music Licensing Guide and additional resources designed to help you better understand and pursue opportunities in sync licensing.

Join The Sync Lab completely free:
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https://www.thesynclab.com/

If you're serious about getting your music licensed, don't spend your time randomly sending songs everywhere you can find. Learn how the business works, identify the companies that make sense for your music, prepare your catalog properly, and start building your network one relationship at a time.

Keep Learning About Sync Licensing

You can also explore The Sync Lab Podcast, where I interview music supervisors, publishers, composers, library executives, and other professionals working directly in sync licensing. These conversations give you a chance to hear directly from the people working inside the industry about what they're looking for, how they find music, and what independent artists can do to create more opportunities.

And if you're ready to start putting this information into practice, join The Sync Lab completely free. You'll get access to our free Music Library Directory, my four-hour Ultimate Music Licensing Guide, and additional resources designed to help you find opportunities and build your sync licensing network.

If you're trying to get your music licensed in television, film, advertising, trailers, streaming content, and other forms of media, music libraries can be one of the best places to start. They provide independent artists and composers with a way to get their music represented by companies that already have relationships with music supervisors, production companies, advertising agencies, editors, and other professionals who regularly need music.

The challenge isn't necessarily finding music libraries. There are hundreds of companies operating throughout the world. The real challenge is finding reputable music libraries that are currently accepting submissions, determining which ones are appropriate for your music, and approaching them in a way that gives you the best chance of developing a productive relationship.

I've worked in music licensing for more than 20 years, and I've been teaching musicians about sync licensing for more than 15 years. One of the biggest mistakes I've seen musicians make during that time is approaching music libraries without a clear strategy. They compile a huge list of companies, send the same music everywhere, and hope something eventually sticks.

There is a much better way to approach the process.

What Is A Music Library?
A music library represents a catalog of music that can be licensed for use in television shows, films, advertisements, trailers, online content, and other forms of media. Instead of a music supervisor tracking down individual musicians every time they need a particular piece of music, they can turn to libraries they already know and trust.

For independent musicians, this creates an important point of access to the sync licensing industry. A good music library has relationships and clients that would be difficult for most individual musicians to develop on their own. When your music becomes part of that library's catalog, it can potentially be considered for opportunities you would otherwise never encounter.

Music libraries also make the licensing process easier for the people selecting music. They organize catalogs, maintain metadata, handle licensing requests, negotiate fees, and make sure the necessary rights can be cleared. When everything is working properly, the relationship benefits everyone involved.

Do Music Libraries Accept Independent Artists? Absolutely. There are music libraries, publishers, sync agencies, and licensing companies that actively work with independent artists and composers. You don't need to be signed to a major label or have millions of streams to start pursuing opportunities in sync licensing.

However, submission policies change frequently. A company accepting unsolicited submissions today might close submissions several months from now, while another company that previously wasn't accepting music may suddenly begin looking for new artists and composers.

This is one of the reasons I always recommend researching every company before submitting. Don't rely on a list you found online five years ago and assume the information is still accurate. Visit the company's website, review its current submission policy, listen to the music it represents, and make sure your music is actually appropriate for its catalog.

Finding The Right Music Libraries For Your Music
One of the most important concepts to understand about sync licensing is that there isn't one universal type of "sync music." Different companies serve different clients and specialize in very different areas of the industry.

Some music libraries specialize in cinematic instrumental music. Others focus on indie artists, singer-songwriters, electronic music, hip-hop, rock, jazz, tension cues, reality television, advertising music, trailers, or corporate productions. Some work across many genres but may still have particular areas where they're stronger or have more demand.

This is why asking whether your music is "good enough for sync" isn't always the most useful question. A much better question is whether your music is useful for the clients a particular company serves.

Before submitting, spend some time listening to the music the company already represents. Look at its placements and clients when that information is available. Pay attention to the genres, production styles, moods, arrangements, and overall quality of the catalog.

If you can realistically imagine your music existing alongside the tracks they're already representing, that's a much stronger indication that the company may be worth approaching.

Exclusive Vs. Non-Exclusive Music Libraries
As you begin researching music libraries, you'll encounter both exclusive and non-exclusive agreements. I've worked with both types of companies throughout my career, and neither model is inherently better in every situation.

A non-exclusive agreement generally allows you to work with multiple companies and potentially represent the same music through more than one library, depending on the terms of the individual agreements. This can give you more flexibility and allow you to create multiple potential avenues for your music.

An exclusive agreement gives one company exclusive representation rights to particular tracks or compositions for a specified period of time and territory. Some exclusive libraries may be more selective about what they represent and more actively involved in pitching their catalogs, although every company operates differently.

The important thing is understanding exactly what you're agreeing to before signing anything. Pay attention to the length of the agreement, exclusivity provisions, publishing rights, how licensing income is divided, termination provisions, and what happens to your music when the agreement ends.

Never sign a music licensing agreement you don't understand simply because you're excited that someone wants to represent your music.

Get Your Music Ready Before You Start Submitting
Before you begin approaching music libraries, make sure your music is actually ready for the sync licensing market. Your tracks may ultimately be competing against professionally released commercial music, so production quality matters.

Your music should be professionally recorded, mixed, and mastered. You should also have your metadata organized and know exactly who owns both the master recording and the underlying composition.

For songs with vocals, it's usually a good idea to have instrumental versions available. Depending on the type of music you're creating and the company you're working with, you may also be asked for alternate mixes, stems, cut-downs, or other versions.

You also need to make sure everything contained in your recording can legally be licensed. Uncleared samples, uncertain ownership, missing collaborators, and unresolved publishing issues can make otherwise great music difficult or impossible to use.

One of the most important principles in sync licensing is simple: make your music as easy to license as possible. The fewer obstacles standing between someone wanting your music and being able to clear it, the better.

How To Submit Music To Music Libraries
Once you've identified a company that seems appropriate for your music, follow its submission instructions carefully. This sounds obvious, but you'd be surprised how many musicians ignore this part of the process.

If a company asks for three tracks, don't send twenty-five. If it requests streaming links, don't attach a collection of large audio files. If the company has a dedicated submission form, use the form instead of tracking down an employee's personal email address and trying to bypass the process.

Keep your initial communication short, professional, and relevant. Briefly introduce yourself, explain the type of music you create, and provide whatever information and links the company requests.

You don't need to tell your entire life story or explain every detail of your musical journey. The people reviewing submissions are usually busy, and ultimately the music itself is going to determine whether they're interested.

Make it easy for them to listen and easy for them to understand what you're offering.

Don't Submit The Same Music Everywhere
Another mistake I see frequently is musicians compiling a massive list of licensing companies and sending exactly the same pitch and playlist to every company on the list. This might feel productive because you're sending a lot of submissions, but volume by itself isn't necessarily an effective strategy.

If you're approaching a boutique company known for emotional indie music, send your strongest emotional indie tracks. If you're approaching a library that specializes in reality television, send music that makes sense for that environment. If you're contacting a company that primarily works in advertising, think about whether your tracks realistically fit the types of campaigns that company works on.

You don't necessarily need hundreds of tracks to start building relationships in sync licensing. You need the right music for the right opportunity.

Ten carefully researched and targeted submissions can ultimately be much more valuable than sending one hundred random pitches.

Where Can You Find Music Libraries Accepting Submissions?
There are hundreds of music libraries, publishers, sync agencies, and licensing companies operating throughout the world. Finding them isn't necessarily difficult, but researching them, determining which companies are legitimate, identifying which ones are currently accepting music, and figuring out which companies are appropriate for your catalog can take a tremendous amount of time.

This is one of the primary reasons I created The Sync Lab. After more than two decades working in music licensing and years spent researching companies, interviewing hundreds of music supervisors and other sync professionals, and helping independent musicians navigate the industry, I wanted to create one central platform where musicians could access the information and resources they need to pursue sync licensing more effectively.

You can now join The Sync Lab completely free. Free members get immediate access to our Music Library Directory featuring companies actively accepting music submissions, along with my four-hour Ultimate Music Licensing Guide course and our weekly newsletter with sync licensing tips and strategies.

Join The Sync Lab for free here:
https://www.thesynclab.com/

There's no credit card required and no obligation to upgrade. You can join, explore the resources, and start building your sync licensing strategy immediately.

How Many Music Libraries Should You Work With?
There isn't a magic number of music libraries you need to work with in order to succeed. One great company that understands your music, has strong relationships, and consistently pitches your catalog can potentially be more valuable than having your music sitting unnoticed in dozens of libraries.

At the same time, developing relationships with multiple companies can create more opportunities and reduce your dependence on any single source of placements. Over time, many successful artists and composers develop a network of different relationships that serve different parts of their catalogs.

I prefer thinking about this process in terms of building relationships rather than simply accumulating companies. Sync licensing is a long-term business, and the strongest relationships often develop gradually.

You submit music, expand your catalog, learn what different companies need, improve your understanding of the market, respond to opportunities, and continue developing relationships. Over time, those individual efforts begin to compound.

Keep Track Of Your Music Library Submissions
Once you start submitting music regularly, organization becomes increasingly important. You should know which companies you've contacted, what music you sent, when you submitted it, whether you received a response, and when it might make sense to follow up.

Without some kind of system, it's surprisingly easy to lose track of where you've sent particular tracks. You also don't want to repeatedly contact the same company with the same music simply because you forgot about an earlier submission.

You don't need an elaborate system. A simple spreadsheet or submission tracker can work perfectly well. The important thing is treating your sync licensing efforts like a business rather than approaching them randomly whenever you happen to feel motivated.

Consistency matters, particularly when you're trying to build momentum over a period of months or years.

What If A Music Library Doesn't Respond?
If you've been submitting music for any length of time, you've probably experienced this already. You send your music to a company, wait for a response, and hear absolutely nothing.

Don't take it personally. Music libraries can receive an enormous amount of music, and many simply don't have the time or resources to respond individually to every submission.

A lack of response also doesn't necessarily mean your music isn't good enough. Your music might not have been right for that particular catalog. The company may already have enough music in your genre. They may not currently have demand for what you're offering. The timing simply might not have been right.

One of the biggest differences I've observed between musicians who eventually build momentum in sync licensing and those who don't is persistence. The musicians who succeed tend to keep creating, keep learning, keep developing relationships, and keep putting themselves in situations where opportunities can happen.

Music Libraries Are Only One Part Of A Sync Licensing Strategy
Music libraries can be an extremely valuable part of a sync licensing strategy, but they're not the entire industry. There are publishers, sync agencies, music supervisors, production companies, advertising agencies, trailer companies, licensing platforms, and many other potential paths through which music can ultimately be discovered and licensed.

There are also individual music briefs and opportunities that arise when supervisors, libraries, agencies, and other companies are searching for particular types of music for current projects. Understanding how all of these different parts of the industry connect gives you considerably more options than simply submitting to libraries and waiting.

The strongest long-term strategy is to gradually develop multiple avenues through which your music can be discovered, represented, pitched, and licensed.

That's ultimately the larger idea behind The Sync Lab. I wanted to create a platform that helps musicians not only find companies, but better understand the industry, identify opportunities, improve their approach, and build a sustainable strategy for pursuing sync licensing.

Start Building Your Sync Licensing Network
Getting started in sync licensing doesn't require knowing everyone in the industry or having some secret connection to a major music supervisor. It starts with understanding how the business works, getting your music ready, identifying appropriate companies, and consistently putting your music in front of the right people.

I've been licensing music for more than 20 years and teaching musicians about the business for more than 15 years. One of the biggest lessons I've learned during that time is that sync licensing rarely comes down to one magical submission, one perfect contact, or one lucky break.

It's about building a strong catalog, developing relationships, creating opportunities, understanding what the market needs, and staying in the game long enough for those efforts to compound.

If you're ready to start building your own sync licensing network, you can join The Sync Lab completely free and get immediate access to our free Music Library Directory, my four-hour Ultimate Music Licensing Guide, and our weekly newsletter with more sync licensing tips and strategies.
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Join The Sync Lab for free:
https://www.thesynclab.com/

I've been working in the sync licensing world for over 20 years, both as a songwriter and composer licensing my own music, and as an educator helping musicians navigate the industry through my original platform, How To License Your Music, and more recently, The Sync Lab.

Over the years, I've worked with thousands of musicians and had the opportunity to interview some of the most knowledgeable composers, music supervisors, publishers, and industry professionals in the business through The Sync Lab podcast.

One thing I've learned is that some of the most valuable sync licensing lessons don't come from courses, conferences, or even industry insiders.
They come from studying the placements themselves.

That's why I've launched a new video series called Behind The Sync.

In each episode, I'll break down a famous placement, commercial, film, TV scene, or advertising campaign and explore why the music worked so well and what musicians, composers, and producers can learn from it.

For the first episode, I'm taking a look at Apple's iconic iPod silhouette campaign.

At first glance, it seems incredibly simple. A few silhouettes dancing, a colorful background, a white iPod, and a great song.

But behind that simplicity are some powerful lessons about emotion, storytelling, branding, and what music supervisors are really looking for when selecting music.

If you're interested in sync licensing, music supervision, advertising, or the business of music, I think you'll enjoy this one.

Behind The Sync, Episode #1

Several years ago, Greg Tan became a client of mine.

At the time, he was like many musicians I hear from today. He was passionate about music, interested in sync licensing, and trying to figure out how the industry actually worked. Like most people getting started, he had plenty of questions and was looking for a roadmap.

While some musicians spend their time searching for shortcuts, Greg focused on improving his craft, building his catalog, expanding his network, and learning how the business really works. Year after year, he kept showing up.
Eventually, those efforts started to compound.

Today, Greg’s music and sound design have been featured in projects including Fast & Furious 9, Sing 2, Sonic the Hedgehog 2, World of Warcraft: Dragonflight, Star Wars: Andor, Jurassic World: Dominion, Netflix’s Our Great National Parks, and many other major productions.

What I appreciate about Greg’s story is that it wasn’t built on some overnight success story or lucky break. It was built the same way most successful sync careers are built: through consistent effort, continuous learning, relationship building, and a willingness to keep moving forward long after many people would have given up.

Recently, I invited Greg to join me on The Sync Lab Podcast to share his journey and some of the lessons he’s learned along the way.

During our conversation, we discuss:
• How Greg first discovered sync licensing and found one of my programs
• The resources and industry knowledge that helped him understand publishers, music supervisors, PROs, libraries, and the sync licensing business
• Why LinkedIn has become one of the most valuable networking tools available to composers
• The importance of building genuine relationships within the industry
• Greg’s journey from beginner to landing placements in major film, television, trailer, and gaming projects
• Why most successful sync careers take years to build, not months
• The realities of rejection, patience, and staying committed when results don’t come immediately
• Building a catalog over time and how those efforts can compound
• The differences between writing for television and writing for movie trailers
• What makes trailer music such a unique and competitive field
• Why production quality is critical for composers who want to compete at a high level
• Royalties, catalog growth, and creating long-term income streams
• The changing landscape of sync licensing and where opportunities exist today
• AI, emerging technology, and how composers can adapt to the future
• Practical advice for composers who want to build a sustainable career in sync licensing

One thing that really stood out to me during our conversation was Greg’s honesty about the timeline.

It took time.

Not because he wasn’t talented. Not because he wasn’t working hard. Simply because building a successful sync licensing career takes time. Skills take time to develop. Relationships take time to build. Catalogs take time to grow. Reputations take time to earn.

That’s not always the message people want to hear, but it’s often the truth.
Greg is a great example of what can happen when you stay committed long enough for your efforts to compound.

I think you’ll enjoy this conversation.

Listen to the Episode:
https://open.spotify.com/episode/7m5AvVqvpVF2KqQqpiHyY9?si=27f7b5597a7e4415

Last year, I started experimenting with AI music tools out of pure curiosity. Like many musicians, I kept hearing more and more about artificial intelligence being used in music production, and I wanted to understand firsthand what these tools were actually capable of beyond the headlines and hype. I began incorporating platforms like Suno into my production workflow, not as a replacement for songwriting, but as a way to speed up the production process and explore ideas more efficiently.

At the beginning, this was simply an experiment. I wanted to see whether AI could realistically support a professional workflow or whether it would feel like a novelty that lacked emotional depth. I approached the process cautiously, testing how AI could fit into the creative process without compromising the integrity of the songwriting itself. What I discovered fairly quickly was that these tools could dramatically accelerate production while still allowing me to maintain full creative control over the music.

I’m Still Writing My Own Songs
Although I’ve experimented with prompting Suno to generate tracks, I’m still writing all of my songs the same way I always have. I’m still creating the lyrics, chord progressions, melodies, and overall direction of the music.

Personally, I find that process far more rewarding, and from my perspective as a songwriter, nothing has really changed creatively. The emotional core of the music still begins with the same spark of inspiration, and the songwriting still develops through the same instincts and musical sensibilities I’ve always relied on.

In other words, AI isn’t replacing songwriting. It’s assisting with production. The biggest difference is the speed at which I’m able to move from idea to finished track. Instead of spending days or weeks building arrangements from scratch, I can explore multiple sonic directions quickly, refine the results that best support the song, and release music more consistently. The creative process itself still feels very familiar, but the workflow has become significantly more efficient.

The Most Prolific Songwriting Period Of My Career
One unexpected result of working with AI tools is that this has become the most prolific period of my career in terms of songwriting, by a huge margin. Because production barriers are lower, I’m able to follow creative ideas more freely without getting slowed down by the technical side of building tracks from scratch. Instead of spending large amounts of time trying to fully produce one song before moving on to the next, I can capture ideas quickly while inspiration is fresh. I've had days where I've written and produced multiple songs in a single day!  

That shift has allowed me to write and produce significantly more music than I was creating before. Ideas that might previously have stayed unfinished are now becoming completed tracks. Concepts that I might not have had time to explore in the past can now be developed quickly and evaluated creatively rather than technically.

As a songwriter, that has been incredibly energizing. The faster workflow has made it easier to stay in a creative mindset and maintain momentum, which has resulted in a much larger catalog of finished music over a relatively short period of time.

From Casual Experimentation To Dozens Of Tracks
Over several months, what began as casual experimentation turned into something much more substantial. I ended up creating dozens of new tracks using AI-assisted production tools, often starting with ideas I had written traditionally and then using AI to help shape the production. Many of these songs began as creative exercises that I was doing mainly for fun in the beginning, but over time I found myself genuinely happy with many of the results.

The ability to quickly explore arrangements, instrumentation, and sonic textures opened creative possibilities that would have taken significantly longer using traditional production methods alone. Instead of getting stuck trying to perfect a single production direction, I could test multiple approaches and follow the one that felt most compelling. That freedom made the process more enjoyable and more creatively stimulating, and it allowed me to focus more energy on songwriting rather than getting slowed down by technical barriers.

As the catalog grew, I decided to move forward under the assumption that the legal and business frameworks surrounding AI-assisted production will eventually become clearer. The music industry has always adapted to new technologies, from multitrack recording to sampling to digital production.

Each shift initially created uncertainty, but standards and best practices eventually emerged. From my perspective, AI-assisted production appears to be following a similar pattern as the industry works through questions related to copyright, disclosure, and licensing.  It's still a grey area, and I have talked to music supervisors who have expressed to me they don't want anything to do with "AI Music", but some libraries are starting to openly sign "AI assisted" tracks, and I feel like more will follow suit in the future.  The technology is simply too powerful and behind the scenes, more and more musicians are embracing it.

Signing My First AI-Assisted Tracks To A Music Library
Recently, I reached an important milestone when I signed my first batch of AI-assisted tracks with one of the music libraries I already work with. This felt like a meaningful step forward, because while this particular library is the first in my network to openly accept AI-assisted tracks, I expect more libraries will begin to follow as the technology becomes more widely understood and as clear policies continue to develop.

Music libraries ultimately care about whether tracks are usable, licensable, and emotionally effective. If a piece of music supports a scene, enhances a story, or communicates a feeling clearly, it has value regardless of how it was produced.

As long as the underlying songwriting is solid and the rights are clearly defined, AI-assisted production is increasingly being viewed as another tool available to composers. 

This moment reminds me of earlier transitions in music technology, where initial skepticism gradually gave way to acceptance as the benefits became clearer and the workflows became more refined. Technologies that initially seemed controversial eventually became standard parts of professional music production.

AI Music Is Becoming More Legitimate
We’re already seeing signs that AI music is becoming more widely accepted within the broader music ecosystem. My alma mater, Berklee College of Music, is now offering coursework that explores how AI tools can be used in songwriting and production workflows.

In response to criticism surrounding one of its AI songwriting courses, Berklee stated:

“As an artist-first institution at the forefront of contemporary music and performing arts education, Berklee has a responsibility to prepare our students to navigate technologies impacting the creative industries. We will continue to do so, in keeping with our guiding principles.”

This reflects a broader shift taking place across the industry. Educational institutions are recognizing that AI is becoming part of the modern creative landscape, and rather than ignoring the technology, they’re choosing to educate students about how it works and how it can be used responsibly. As AI tools continue to improve, more musicians, producers, and educators are exploring how these technologies can coexist with traditional musicianship rather than replace it.

Addressing The Concerns Around AI Music
It’s important to acknowledge that there are legitimate concerns surrounding AI in music. Some artists worry that AI could reduce the perceived value of human creativity, while others are concerned about copyright, training data, and the ethical implications of generative technology. There’s also concern that AI could lead to oversaturation, making it more difficult for individual artists to stand out or maintain a sense of originality.

These concerns deserve thoughtful discussion, and the conversation is still evolving. At the same time, history shows that nearly every major technological advancement in music has raised similar questions. When drum machines became popular, many musicians worried that live drummers would lose opportunities. When sampling emerged, debates about originality and ownership became central issues. When digital production tools became widely available, some feared that barriers to entry would disappear entirely.
What we’ve consistently seen is that tools don’t replace creativity. They change how creativity is expressed.

AI doesn’t automatically create meaningful music on its own. Artistic judgment still matters. Musical taste still matters. Emotional intent still matters. The responsibility still lies with the creator to shape ideas into something that resonates with listeners. From my perspective, AI hasn’t replaced songwriting at all. It's simply made the production process faster and more flexible, allowing me to explore ideas more freely while still maintaining authorship of the music itself.

Ultimately, AI is a tool, and like any tool, its impact depends on how it’s used. Used carelessly, it can produce generic results. Used thoughtfully, it can expand creative possibilities and allow artists to bring ideas to life more efficiently.

Examples Of AI-Assisted Tracks
Below are a few examples of tracks I created using AI-assisted production tools. In each case, I wrote the lyrics, chords, structure, and melodies, and then used AI tools to help bring the production to life more efficiently while preserving the original artistic vision behind the song. 

Some of these tracks started with fully worked out demos, complete with multiple guitar parts, vocal arrangements, drums, etc, and other tracks I've created started with something as a vocal melody recorded on my phone that I uploaded to Suno and then prompted the arrangement, style, etc.  

Here are a few examples:

This track, Maybe It Was All For The Best, started with a simple guitar/vocal demo.  The finished version, sounds like this:

Here's another track, All Tried Up, that I play regularly in my live shows.  This one started with a more fully fleshed out demo with guitar solos and fully fleshed out guitar parts.

Here's one more that I created using a guitar/vocal demo that turned out really cool, called "Right Where We Should Be".

If you want to hear more of my music, check out my Soundcloud to hear more examples of my recent, and past, songwriting.

​Learning How To Use AI In A Professional Workflow
For musicians who are interested in understanding how AI can fit into a professional music workflow, I created The AI Music Licensing Playbook. The guide explains how AI tools can be integrated into a real-world music licensing process while maintaining originality and professional standards.

It explores practical considerations such as maintaining authorship, understanding potential licensing implications, and using AI strategically to increase productivity without sacrificing artistic integrity. The goal isn’t to replace musicianship, but to enhance efficiency while preserving the creative identity that makes each artist unique.

How The Sync Lab Is Embracing AI
At The Sync Lab, we’re actively exploring how AI can be used responsibly within the sync licensing world. Technology continues to reshape how music is created, distributed, and licensed, and our goal is to help musicians stay informed so they can adapt confidently as the industry evolves.

We’ll continue providing education, resources, and guidance related to AI and emerging technologies so musicians can make informed decisions about how these tools fit into their creative process and long-term strategy.

The Future Of AI Music
The AI music revolution has begun, not as an overnight disruption, but as a gradual expansion of what’s possible. Artists still create the ideas, still shape the emotional direction of the music, and still decide what’s worth releasing. AI simply changes how quickly those ideas can be realized and how efficiently creative experimentation can happen.
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Like every major shift in music technology, those who learn how to use new tools thoughtfully will find themselves better positioned for the opportunities ahead while continuing to create music that feels authentic and meaningful.

This is not a binary choice between making "human made" music or "AI music".  The reality is much more nuanced.  I see AI as just another tool in our toolkit as musicians, albeit an extremely powerful, paradigm shifting tool, but ultimately, just a tool. Use it wisely.

If you’re serious about getting your music placed in film, television, or advertising, mastering the art of pitching to music supervisors is essential. These are the people who choose the songs that bring scenes to life. They decide which tracks get licensed and which don’t. They hold the keys to some of the most lucrative and career-changing opportunities in the sync world.

But most artists get this part wrong. They either send generic, mass emails that never get opened or submit music that isn’t ready to license. Others simply give up too early because they don’t see results right away.

This is the definitive guide to help you change that. You’ll learn exactly how to find the right supervisors, approach them professionally, and build relationships that lead to placements over time.

What Music Supervisors Really Do

Music supervisors are creative professionals hired to oversee all aspects of music in visual media. They decide what songs are used in a scene, how those songs support the story, and how they fit the project’s overall tone and budget.

What makes their job complex is that they have to balance artistic direction with licensing logistics. When they choose a song, they also have to make sure it can be cleared legally and affordably. That means they need tracks that not only sound right but are easy to license.

Understanding that is critical. Supervisors don’t have time to chase down rights or deal with legal complications. They want simple, ready-to-use music. If your track fits the creative brief and you make it easy for them to license, you instantly become someone they want to hear from again.

Step 1: Research Supervisors Who Fit Your Music

One of the most common mistakes artists make is sending their music to everyone at once. A great pitch starts with research. You have to know who you’re contacting and why.

Start by studying where your kind of music is being used. Watch shows, films, and commercials that feature your genre. Listen carefully to the background cues, the tone, and the style of production. Then look up who supervised those projects.

You can find this information through IMDbPro, LinkedIn, or music licensing directories. The free version of The Sync Lab includes a detailed directory of music supervisors and libraries with verified links, making this process much easier.

When you identify a few supervisors who use music similar to yours, take notes on their preferences. Learn what kind of songs they’ve licensed recently. This will help you craft a more relevant, personalized pitch later.

(Music libraries can also be an important part of your strategy, particularly because many supervisors rely on trusted libraries when sourcing music. I've put together a complete guide to music libraries accepting submissions that explains how to identify appropriate companies and submit your music professionally.)

Step 2: Craft a Subject Line That Gets Opened

A music supervisor might receive hundreds of emails every day. If your subject line doesn’t grab attention immediately, it won’t get opened.

The best subject lines are short, descriptive, and clearly state what kind of track you’re offering. For example:
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• “Cinematic Piano Track for Drama or Film Score”
• “Upbeat Indie Rock Song for Commercials”
• “Dark Trap Instrumental for Action Trailers”

A clear subject line shows professionalism and awareness of their needs. Avoid vague or generic ones like “Check out my music” or “New song for you.” Those go straight to the trash.

Step 3: Write a Focused and Professional Email

When you get their attention, you need to make every word count. Supervisors don’t have time to read your entire story. Your email should be friendly, concise, and easy to scan.

Here’s a proven structure:

Subject: Emotional Indie Folk Song for Film and TV

Email: Hi [Name],

My name’s [Your Name], and I’m a composer and songwriter specializing in cinematic folk and acoustic music. I came across your work on [specific project] and noticed how beautifully you use emotional, organic music in your placements.
I thought my track [Track Title] could work well for future projects. It’s fully cleared for one-stop licensing and ready for use.

You can stream or download it here: [Direct Link – Disco, Box, or SoundCloud].

Thanks for your time and consideration. I’d be happy to send more if you think it fits your current needs.

Best,
[Your Name]
[Your Website or Catalog Link]

This kind of email shows that you understand the supervisor’s work, that you respect their time, and that your music is professional and ready to go.

Step 4: Ensure Your Music Is Ready to License

Even if your song is great, it won’t get placed if it isn’t easy to license. Supervisors want to know that your music is one-stop, meaning you control both the master and publishing rights.

If you’ve co-written the song, make sure you have a clear agreement with your collaborators that outlines ownership splits. If there are samples, they must be cleared or replaced with royalty-free elements.

Include a short line in your email that says, “All tracks are one-stop and cleared for licensing.” It tells them they won’t face any legal surprises.

Your metadata also matters. Every file should include your name, contact info, and song title. This ensures that if your track gets downloaded, they can easily reach you.

Step 5: Send the Right Kind of Links

Supervisors want to be able to listen right away. Never attach mp3s or zip files. Use a clean, professional link to a streaming or download page where the track is easy to preview and download if needed.

Platforms like Disco, Box, and SoundCloud (set to private) are great options. If you have instrumental versions, alternate mixes, or shorter edits, include those in the same folder. The easier you make their workflow, the more likely they are to keep your music on file.

Step 6: Follow Up with Professional Persistence

If you don’t hear back, don’t assume they’re not interested. Many supervisors save music for future projects and simply don’t have time to respond. Wait about two or three weeks, then follow up once.

Keep it light and polite:

Hi [Name],
Just checking in to see if you had a chance to listen to the track I sent over. No rush at all, I just wanted to make sure it didn’t get lost in your inbox.

Thank you,
[Your Name]

After that, move on. Keep pitching to new contacts and continue building your network. The key to success in sync licensing is consistency, not chasing one opportunity endlessly.

Step 7: Build Long-Term Relationships

The most successful sync artists aren’t constantly cold-pitching. They’re nurturing long-term professional relationships. Once you connect with a supervisor who likes your work, keep the relationship alive.

Send an occasional update when you release new music or when you’ve created something that fits the kind of projects they work on. Congratulate them when you see their name attached to new films or shows. Keep it genuine, not transactional.
Over time, supervisors begin to associate you with reliability and quality. They’ll come back to you because you’ve proven you can deliver. That’s when you move from pitching to being requested.

Step 8: Stay Organized and Track Everything

Keep a detailed record of every supervisor you’ve contacted, what song you sent, and when you sent it. Use a spreadsheet or a Notion database. This helps you stay organized and allows you to see what’s working.

Tracking also helps you spot patterns. You might notice that your pop tracks get more responses than your acoustic ones, or that certain supervisors open your emails more often. These insights help you refine your approach over time.

Step 9: Keep Learning and Improving Your Approach

Pitching to supervisors isn’t something you master overnight. It’s a skill you refine through repetition and observation. Pay attention to which emails get responses, which subject lines perform best, and which tracks get downloaded.

Watch interviews with supervisors online. Many share what they look for in pitches, what mistakes artists make, and how they prefer to receive submissions. The more you understand their world, the easier it becomes to communicate effectively.

Step 10: Be Patient and Keep Going

Sync licensing is not a quick path to success. It’s a long game built on patience, consistency, and growth. Every email you send, every track you finish, and every contact you make adds up.

Many of the artists who now make a full-time living in sync started out getting rejected hundreds of times. The only difference between those who succeeded and those who quit is that the successful ones kept going.

Stay focused, stay humble, and keep creating. The results will come, just not always on your timeline.

Get Your Free Music Licensing Directory and Course

If you’re ready to start pitching with confidence, you need the right contacts and the right education. That’s exactly what you’ll find in The Sync Lab’s Free Version.
You’ll get access to:

• A free directory of verified music libraries and supervisors
• A complete four-hour video course, The Ultimate Music Licensing Guide, that walks you step-by-step through the sync process

These resources will help you find the right people, make professional connections, and pitch your music the smart way.

👉 Get your free access today
​
Start connecting with real supervisors, sending smarter pitches, and taking control of your sync licensing journey. Your next placement could be one well-crafted email away.

Streaming platforms like Netflix, Hulu, and Amazon Prime have completely reshaped the entertainment industry. They’re producing more original content than ever before, and with that comes a growing demand for music. This is a massive opportunity for independent artists. But the big question is: how do you actually submit your music to these platforms?

The truth is you can’t just send your tracks to Netflix and expect them to land in a show. There’s a process, and knowing how it works will save you time and help you focus on the right doors.

How Music Gets Placed on Streaming Platforms

Netflix, Hulu, and Amazon Prime don’t license music directly from independent musicians. Instead, they work through music supervisors, production companies, and trusted music libraries.

A music supervisor is hired for each show or film. Their job is to find music that fits the scenes, negotiate licensing fees, and handle the clearance process. Music supervisors rarely deal with unsolicited submissions from unknown artists. Instead, they rely on relationships with libraries, publishers, and trusted contacts to source songs.

This means your best path into Netflix, Hulu, or Amazon Prime is to connect with the people and companies that supervisors already trust.

Why Music Supervisors Are the Gatekeepers

Music supervisors hold the keys to getting placed. They know the creative direction of a show, they understand the licensing budget, and they’re the ones who present options to the directors and producers. If your music gets into their hands at the right time and it fits the project, you can land a placement.

The catch is that supervisors get bombarded with music daily. That’s why many prefer going through libraries and catalogs they already work with. To stand out, you either need to build a personal relationship or have your music represented by a library that feeds directly into their workflow.

The Role of Music Libraries and Publishers

Libraries are often the most realistic entry point for independent musicians. These companies have catalogs of pre-cleared music and maintain active relationships with supervisors working on Netflix, Hulu, and Amazon projects. Supervisors know they can get music from these sources quickly, legally, and within budget.

For artists, this often means splitting income with the library, but the trade-off is access to opportunities you’d never get on your own. If you want to submit music for streaming shows, targeting the right libraries is one of the smartest strategies you can use.

If you're looking for companies you can approach, I've also put together a complete guide to music libraries accepting submissions, including how to find the right libraries for your music, prepare your tracks, and approach companies professionally.

Libraries to Start With

Here are a few established music libraries that actively license music for TV and film. These are good places to begin your research and submissions:
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• APM Music – One of the largest production music catalogs in the world, widely used in television, film, and streaming projects.
• Audio Network – A global music company supplying tracks to Netflix, Hulu, Amazon, and beyond.
• ALIBI Music – Known for high-quality tracks and stems, frequently used in trailers, promos, and shows.
• Extreme Music – A Sony-owned catalog that places music across major TV networks and streaming platforms.
• Universal Production Music – Formerly Killer Tracks, a huge library trusted by supervisors worldwide.
  
  

Before submitting, always review their submission guidelines. Some are open to independent artists, while others work selectively with composers.

Steps to Prepare Your Music

Step one is to make sure your songs are ready for sync. This means professional production, proper mastering, and no uncleared samples. Supervisors and libraries need music they can license immediately without legal headaches.

Step two is to prepare alternate versions. Always have instrumental mixes and stems ready. Often the vocal might clash with dialogue, and having an instrumental available can make your track more licensable.

Step three is to handle your metadata. Make sure every track has your name, contact info, songwriting splits, and publishing information embedded. Metadata is how supervisors and libraries keep track of who owns what.

Step four is to reach out with professionalism. Whether you’re contacting a supervisor directly or submitting to a library, keep your message short and focused. Share a link to a streaming playlist, not attachments. Make it as easy as possible for them to listen.

What Kind of Music Works Best on Streaming Shows

Shows on Netflix, Hulu, and Amazon Prime use a wide range of music, but some patterns emerge. Emotional ballads, atmospheric instrumentals, and high-energy tracks are always in demand. Songs that create a vibe quickly and can play under dialogue without overpowering the scene tend to be more sync-friendly.

Lyrics can work, but they need to match the tone of the scene. Often, supervisors look for universal themes like love, struggle, empowerment, or change. The best way to understand what works is to study the shows you want to target and listen closely to how music is being used.

Final Thoughts

Submitting music to Netflix, Hulu, and Amazon Prime isn’t about knocking on their doors directly. It’s about putting your music where supervisors are already looking. Music libraries, publishers, and established relationships are the real access points. If you prepare your catalog, follow professional standards, and connect with the right people, your chances of landing a placement go up dramatically.

Free Resource to Get Started
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If you’re serious about getting placements, I’ve created a free resource to guide you. At The Sync Lab you can download a free music licensing directory of supervisors and libraries, along with a free four-hour audio and video course that explains exactly how artists can make money licensing their music in TV and films.

And if you want to go even deeper, there’s also an option to join our premium program. Inside, you’ll get access to in-depth courses, a weekly mastermind with award-winning producer Gary Gray, daily leads, tutorials, and much more.

​You can learn more here: The Sync Lab Premium.

👇 Access the full interview, plus, get two free resources to kickstart your licensing journey for free:
​

✅ A directory of music supervisors
​
✅ A 4-hour video course on how to make money licensing your music


🎁 Grab everything here: https://www.thesynclab.com