Aktualisiert am 08.11.2026
Sync licensing means putting your music to picture — TV, film, ads, games, trailers, YouTube. It’s one of the better-paying paths for a producer because every placement pays an upfront sync fee AND backend performance royalties every time it airs. But supervisors won’t touch a track with murky rights, so this is a game of clean ownership, deep catalogs and relationships, not a lottery ticket.
Every placement needs two licenses: one for the composition and one for the recording (master). You get an upfront SYNC FEE, and then backend PERFORMANCE royalties collected through your PRO every time it airs — separate from the fee. On a show that re-runs, the backend can out-earn the upfront fee over time.
Fees range from “as little as $50” for a small digital use to well over six figures for a national ad or a film trailer, with episodic TV, indie films and games all sitting at very different levels. Treat every number you see as “varies widely” — rate cards disagree constantly. Sync agents and libraries typically take 25–50% of the fee for bringing the placement.
There are three routes: upload to sync libraries and platforms (Musicbed, Artlist, Marmoset, Disco and others); work with a sync agent or rep; or pitch music supervisors directly. Non-exclusive is beginner-friendly — you can be in several libraries and keep all your publishing. Only sign exclusive if it guarantees significant placements up front.
Sync music has to be 100% clean and owned: no uncleared samples, no uncleared shared loops, instrumental, untagged. Supervisors need you to warrant that you control both the composition and the master, and a single murky sample kills the deal. This is exactly why building from free hand-played loops you can fully clear and own matters — you can actually say yes when they ask “do you own all of this?”
Deliver the instrumental plus STEMS and alternate-length cuts (60, 30 and 15-second edits) — supervisors cut to picture. Embed metadata and organise your catalog by mood, energy, tempo and genre so a track can be found against a brief. Register with a PRO before you pitch, or you can’t collect the backend.
Supervisors need options, so aim for roughly 50–100 strong tracks across moods and tempos. When you pitch, keep it targeted: supervisors whose shows match your sound, one track link, one sentence on why it fits. Never mass-blast. Most placements happen because a specific track fits a specific brief.
Do: clear and own everything, keep stems and alt-length cuts ready, register with a PRO first, personalise pitches, and stay non-exclusive early.
Don’t: pitch tracks with uncleared samples or loops, ignore the brief, mass-email supervisors, or sign exclusive without guaranteed placements.
Sync starts with music you fully own. Grab free hand-played melody loops at ndacompany, no login, build clean tracks you can actually license, and keep your stems tidy. NDA+ members can send finished beats straight to us for placements.
Only if you can fully clear and own it. That’s the point of hand-played, properly-licensed loops: you can warrant clean rights, which uncleared sample packs can’t.
Yes — supervisors cut music to picture and often need the instrumental plus 60/30/15-second edits. Having stems and alt cuts ready sets you apart.
No. It’s high-value but slow and unpredictable — a catalog-and-relationships game. Keep leasing as your base income while sync builds.
Sie sind nicht royalty-free. In eigenen Beats kostenlos, bei jeder kommerziellen Veröffentlichung gilt 50/50 am Publishing mit NDA Company. Lizenzbedingungen
Über NDA · Alle Artists & Genres · Kostenlose Loop Kits · Anleitungen · Kostenlose Type Beat Loops · Loops nach BPM & Tonart · Splice-Alternative