A Guide to Sync Deals and Licensing

You've gotten a sync inquiry. Maybe a music supervisor heard your track, a library wants to add your catalog, or a brand's agency reached out about a commercial. The music is ready. But the deal in front of you? That's where most independent artists freeze.

$412.6M

in US sync licensing revenue in 2024

The global sync market is growing at roughly 8.2% annually. The opportunities are real — but the difference between a deal that builds your career and one that gives away your rights comes down to understanding what you're signing.

The Two Licenses in Every Sync Deal

Every sync placement involves two separate licenses because every recorded song contains two separate copyrights:

1. The sync license covers the composition (melody, lyrics, arrangement), granted by the songwriter(s) or publisher.
2. The master use license covers the specific recording, granted by whoever owns the master — typically the artist, producer, or label.

Both licenses must be secured before a song can be used in visual media. If you wrote and recorded the song yourself — no co-writers, no label, no samples — you control both copyrights. This makes you a "one-stop" shop, and music supervisors love one-stops. Licensing is faster, there's one negotiation instead of two, and no rights holder can block the deal.

If you co-wrote the song or are signed to a label, every rights holder needs to agree. This is why having clear, documented split sheets matters before a sync opportunity comes up.

How Sync Fees Work

There is no standard rate card. Every deal is negotiated individually based on media type, budget, prominence of the song, territory, duration, and artist profile. Here's what different placements typically pay, based on industry reporting and licensing data from ThatPitch:

Placement Type	Typical Fee Range
Streaming TV (Netflix, Hulu, etc.)	$500–$5,000 per episode
Network television	$1,000–$10,000 per episode
Independent films	$500–$10,000
Major studio films	$10,000–$100,000+
Local/regional commercials	$1,000–$25,000
National commercials	$25,000–$100,000+
Global advertising campaigns	$50,000–$250,000+
Video games	$1,000–$50,000+
Trailers	$5,000–$100,000+

These ranges cover combined sync and master fees. If you own both copyrights, you keep the entire amount. If different parties control composition and master, the fee is typically split equally — though this is negotiable.

Most Favored Nations (MFN) is a common provision requiring the sync fee and master fee to be equal, protecting both sides from one party undercutting the other.

The sync fee is only part of the income. Every time the media is broadcast or streamed, you earn performance royalties through your PRO. A network TV placement that gets syndicated can generate royalties for years — which is why you should never sign a deal that asks you to waive performance royalties.

Types of Sync Deals

Direct Placements

A music supervisor contacts you about using a specific song in a specific project. You negotiate the fee, grant the license for that use, and get paid. One song, one placement, one negotiation — maximum control.

Sync Agent Representation

A sync agent pitches your catalog to supervisors, agencies, and production companies. Agents typically take 25–50% of the sync fee. They don't own your copyrights — they earn only when they land a placement. Deals can be exclusive (one agent for your catalog) or non-exclusive (multiple agents).

Music Library Deals

Libraries maintain large catalogs of pre-cleared music with streamlined pricing. Two categories:

• Non-exclusive libraries: Submit the same tracks to multiple libraries. ~50% commission. Full flexibility.
• Exclusive libraries: Sole representative for submitted tracks. Often more pitching investment, sometimes upfront advances. 35–50% commission.

Buyout Deals

A one-time flat fee with no ongoing royalties from the licensee. Common in advertising and corporate video.

Contract Terms to Scrutinize

Term (Duration)

• Fixed term (1–5 years): License expires, continued use requires renewal
• In perpetuity: Standard for film, but should command a higher fee
• Life of the production: License lasts as long as the production is distributed

For agent/library deals, the term means how long they can represent your music. Look for reversion clauses.

Territory

Worldwide vs. specific territories (US-only, North America, Europe). Wider territories justify higher fees. "Worldwide, in perpetuity" should command a premium.

Exclusivity

Commission and Payment

• What percentage of the sync fee goes to the representative? (Standard: 25–50%)
• Do they take a share of your backend performance royalties, or only the upfront fee?
• When do you get paid? Delays of 90–180 days are common in sync.

Approval Rights

Can you reject specific placements? You may not want your music in certain brands or political campaigns. Strong deals give you approval rights. "Meaningful consultation" means the agent discusses placements with you but has final say — know the difference.

Rights Granted

A sync license should specify the exact use (TV episode, commercial, film), the media types, whether they can edit/shorten/remix your song, and whether they can use it in promotional materials. Be cautious of "all media now known or hereafter devised" combined with "in perpetuity" and "worldwide."

Reversion and Exit Clauses

How do you get out? Check: what happens when the term expires, can you terminate early, is there a sunset clause tied to performance benchmarks, and is there a limit on the "tail period" (usually 12–24 months) where the representative earns commission on placements they secured.

Negotiation Strategies

Start with the budget, not your price. Ask "What's the budget allocated for music licensing?" A Super Bowl commercial has a different budget than a web series.

Don't undervalue advertising. Global campaigns pay $50,000–$250,000+. If a brand wants your song, your music is doing real marketing work — price accordingly.

Negotiate scope, not just fee. If the budget is fixed, limit the territory, shorten the term, or restrict the media type. "$2,000 for US streaming rights for two years" beats accepting a low fee for worldwide perpetual rights.

Get everything in writing. Every deal — even small ones — needs a written license specifying the song, use, term, territory, fee, payment schedule, and rights granted. For more on written agreements, see our guide on things to check before signing any music contract.

Red Flags

Upfront fees charged to you. Legitimate agents earn commissions from placements. If you're paying to be "considered," it's pay-to-play.

Perpetual exclusivity with no performance obligation. You're giving away control for nothing. Perpetual terms need performance benchmarks or easy exits.

Vague rights language. "All rights" or "any and all uses" without specifics means you don't know what you're licensing.

No approval rights. Without them, your music could end up in contexts you'd never agree to.

Commission on performance royalties. Your PRO royalties come from broadcasts, not from the agent's work. Be cautious about sharing this stream unless the deal terms justify it.

No reversion clause. No term expiration, no exit clause, no performance benchmarks — you're locked in indefinitely.

Preparing Your Catalog

When a sync opportunity comes, supervisors move fast. For every song you want to pitch, have ready:

• Full vocal mix and clean instrumental — both professionally mastered
• Stems — individual track groups for editors who need flexibility
• Complete metadata — title, writers, publishers, PRO affiliations, IPI numbers, ISRC, BPM, key, mood
• Ownership documentation — signed split sheets for every contributor
• Contact info for every rights holder