What sync licensing companies do
A music sync licensing company pitches your tracks to music supervisors at TV productions, film studios, ad agencies, and game developers in exchange for a commission of 25% to 50% of the sync fee. They hold relationships with buyers that independent artists and small labels cannot access directly. When a brief comes in - say a BBC drama needs a tense instrumental for a key scene - the sync company pitches tracks from its roster that fit, negotiates the upfront sync fee and master use fee, and handles the clearance paperwork. The backend broadcast royalties then flow to you directly via PRS and PPL each time the finished content airs. Before approaching any sync company, your catalogue must be fully cleared: clear ownership of both composition and master, ISRC and ISWC on every track, and PRS and PPL registration active.
Sync licence vs master use licence
A sync licence is permission to use a piece of music in timed relation to picture: a TV scene, a film, an advert, a game, or an online video. Every placement needs two separate permissions, and a sync company negotiates both:
- Sync licence: covers the composition (melody and lyrics). The songwriter grants it, or their publisher or publishing administrator does on their behalf.
- Master use licence: covers the specific sound recording. The owner of the master grants it: the artist, their label, or a label services partner.
Why owning both sides helps
If you wrote and recorded the track yourself, you control both licences and can approve a deal without waiting for anyone else. That speed matters. Advertising briefs move fast, and rights holders who can confirm clearance within 24 to 48 hours win more placements. Placements on major label releases are sometimes lost because the label and the publisher cannot agree in time.
How sync fees and backend royalties work
There are no standard sync rates. Each placement is a negotiation, and the fee depends on exclusivity, territory, how long the music is used, and how prominent it is in the scene. A short online video or a local advert can pay a few hundred pounds, while a major campaign for a global brand or a feature film can pay tens of thousands. The sync company's commission comes out of this upfront fee. The placement then earns backend royalties: PRS performance royalties each time the production is broadcast, a PPL payment to the recording rights holder, and mechanical royalties when the production is reproduced. For a long-running TV series or an advert that runs for years, these backend royalties can exceed the original fee, so they need the same registration and collection work as any other royalty stream.
Types of sync licensing company in the UK
There are three broad types of sync licensing operation in the UK market:
- Music libraries: hold large catalogues of pre-cleared music (often production music or work-for-hire tracks) that music supervisors can licence immediately without negotiation. Examples include Audio Network, Musicbed, and Artlist. Good for getting placed quickly but typically pay lower fees and require exclusive agreements or significant revenue share.
- Sync agencies: represent artist catalogues on a non-exclusive basis and pitch tracks in response to active briefs. They have established relationships with music supervisors at UK broadcasters (BBC, Channel 4, Sky, Netflix UK) and advertising agencies. They take a commission on each placement (typically 25% to 50% of the sync fee).
- Publisher sync teams: major and independent publishers have dedicated in-house sync teams that pitch their signed catalogue. If you have a publishing deal, your publisher's sync team is your primary channel. Independent songwriters without a publishing deal use sync agencies instead.
Key UK sync licensing companies and platforms
The UK sync licensing market includes both established agencies and newer platform-based models:
- Audio Network: one of the largest UK-based production music libraries. Strong BBC and ITV relationships. Requires composers to assign rights.
- Musicbed: US-based but widely used by UK production companies and YouTube creators. Non-exclusive agreements available.
- Artlist: subscription model for video creators. Lower per-placement fees but volume-based income.
- Bleep: UK-based sync agency with a boutique catalogue. Works with independent artists and focuses on ad agency briefs.
- Syncsupervisor and similar indie agencies: smaller UK boutiques connecting independent artist catalogues with music supervisors on specific briefs.
- Epidemic Sound: Swedish-based but dominant in YouTube and social content. Pays per stream from licensed content creators.
What sync companies need from you
Before approaching any sync licensing company, you need the following in place:
- Clear rights: you must be able to confirm that you own or control both the composition (the song) and the master recording. Any third-party samples, co-writer clearance gaps, or unresolved publishing assignments will block a placement.
- High-quality stems and alternative mixes: many sync briefs require stems (individual track elements: vocals, bass, drums, keys) in addition to the full mix, and some ask for an instrumental, vocal-up, or TV mix. Have 24-bit WAV stems ready for your best sync candidates.
- ISRC and ISWC: each recording should have an ISRC and each composition should have an ISWC. These identifiers are required for the paperwork that accompanies a placement.
- PRS and PPL registration: the composition must be registered at PRS and the recording at PPL so that backend broadcast royalties are collected after the placement airs.
- A short description of the track: sync companies receive hundreds of tracks. A one-sentence descriptor covering tempo, mood, and instrumentation helps them pitch effectively.
To check whether your catalogue is ready for sync, request a free Catalog Assessment. You tell us what you own and where it is registered. We review your composition and recording registrations, ownership records, and split sheets, then tell you which gaps would block a placement and how to fix them.
Frequently Asked Questions
How do music sync companies get paid?
Sync licensing companies typically take a commission on the sync fee (the upfront payment for using the music in a production), usually 25% to 50%. Backend royalties - the ongoing broadcast income generated each time the placed content airs - flow directly to the rights holder through PRS and PPL, typically without a commission deducted.
Do I need a publishing deal to get sync placements in the UK?
No. Many UK sync agencies work with independent rights holders who own their own compositions and recordings. What matters is clear ownership, quality, and being able to respond quickly to briefs. A publishing administrator who handles your PRS registration and clearance can make you sync-ready without you needing a traditional publishing deal.
What is a music supervisor and how do I approach one?
A music supervisor is the person at a production company, broadcaster, or advertising agency responsible for selecting and clearing music. Most music supervisors work through sync agencies and briefs rather than accepting unsolicited approaches from individual artists. The most effective route to a UK music supervisor is through a reputable sync agency that already has an established relationship with them.
Can I license my music for sync if it contains samples?
Technically yes, but in practice it is hard. You must clear every sample with both the owner of the original recording and the owner of the original composition before you can grant a sync licence. Given a sampled track and a clean one, a music supervisor will almost always choose the clean track because it is quicker to clear.
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