Music Synchronization Companies: What They Do and How They Differ From Libraries

Short answer: A music synchronization company is any business that gets music licensed into visual media. The main types are sync agencies that pitch a curated roster, publishers that represent songs and clear the composition, sync libraries that license from a searchable catalog, and clearance companies that secure rights for productions. They differ in who they work for, how selective they are, and what rights they ask for.

If you want a list of companies grouped by type, read sync licensing companies: how to choose the right one.

What music synchronization companies do

The work behind every placement falls into four jobs:

• Pitching: sending the right tracks to music supervisors, editors, and brands for a specific brief.
• Representation: acting for the rights holder, negotiating fees and terms.
• Clearance: confirming who owns the song and the recording and getting written permission from each.
• Licensing: issuing the license and collecting and paying out the fee.

Some companies do all four. Others specialize in one.

Types of music synchronization companies

Type	Who it works for	How it finds placements	What to expect as an artist
Sync agency	Artists and rights holders	Pitches a small, curated roster	Selective, hands-on, often prefers exclusivity
Music publisher	Songwriters	Pitches songs and clears the composition	May take a share of your publishing
Sync library	Artists supply tracks; buyers search	Buyers search a large pre-cleared catalog	Wide reach, terms vary by library
Clearance company	The production	Secures rights for music the production already chose	Contacts you if your song is picked

For more on the agency model, see sync agencies.

Synchronization company vs sync library

A synchronization company in the narrow sense, an agency or publisher, actively represents a limited set of songs and pushes them to buyers. A library offers reach: buyers find your track by searching tags and moods. Many artists use both. They keep most of the catalog in non-exclusive libraries and give a few strong tracks to an agency that fits their sound. See music licensing libraries for how libraries work.

What to check before you work with one

1. Exclusivity. Which tracks, for how long, and can you take them back?
2. Your share. What share of fees do you receive, and do they take any part of your publishing?
3. Upfront costs. Be wary of any company that charges large fees without a clear service.
4. Fit. Do the placements they list publicly match your genre?
5. Rights clarity. Do they expect you to be one-stop? Read music synchronization rights.

How each type of company makes money

Knowing how a company is paid tells you whose interests it serves and what it will ask of you.

• Sync agencies usually keep a share of the license fees they bring in. They earn when you earn, which is why they are selective.
• Publishers typically take a share of the publishing income on the songs they represent, which can include performance royalties as well as sync fees.
• Sync libraries keep a share of license income set in your contract. Some also act as publisher for the tracks they license and collect a publisher share of performance royalties.
• Clearance companies are paid by the production to secure rights. They do not represent you, but they may contact you if a production wants your song.

A hypothetical example: the same song through three routes

This example is made up to show the differences. A band has a cinematic indie rock song they wrote and recorded themselves.

1. Through an agency: an agency that places indie rock in TV promos accepts the song exclusively for a fixed term and pitches it to briefs it receives. The band gets focused attention, but the song cannot go anywhere else during the term.
2. Through libraries: the band places the song non-exclusively in several libraries. It is available to many more buyers, but no one is pitching it specifically.
3. Through a clearance company: a film's music supervisor hears the song on a playlist and asks a clearance company to secure it. The band negotiates directly, licensing both rights because they are one-stop.

Many artists end up combining the first two: most of the catalog in non-exclusive libraries and a few standout tracks with an agency that fits.

Signs a synchronization company is a good fit

• It places music in your genre and lists the types of placements it has secured
• It explains its terms in plain language and puts them in writing
• It tells you how it handles retitling, cue sheets, and statements
• It does not charge large upfront fees without a clear service
• It gives you a clear way to remove tracks or end the deal

Red flags

• Promises of specific placements before hearing your music
• Pressure to sign quickly
• Vague answers about who controls your rights after you sign
• Requests for publishing rights on your whole catalog when you are only submitting a few songs

Questions to ask any synchronization company

1. Who are your main buyers: TV, film, ads, trailers, games, or online creators?
2. Is the deal exclusive or non-exclusive, and for how long?
3. What share of each license fee do I receive?
4. Do you act as publisher for my tracks, and what does that involve?
5. Will you retitle or re-register my songs?
6. How and how often do you report and pay?
7. How do I remove my music, and what happens to existing licenses?

Write the answers down for every company you work with. They become your reference when statements arrive or a new offer comes in.

How to work with several companies at once

Non-exclusive deals let one track sit with several synchronization companies. To keep that manageable:

• Keep one sheet listing every track, every company, and every title it uses
• Tell each company about any content identification registrations elsewhere
• Never sign an exclusive deal for a track that is already placed non-exclusively, unless you remove it first and the contracts allow it
• Review results after a few statement cycles and focus on the companies that license your music

Where That Pitch fits

That Pitch is not an agency or a publisher. It gets your music into 100+ sync libraries from one upload, works with non-exclusive libraries only, and matches tracks to library briefs automatically. That Pitch keeps none of your sync-placement earnings, so you keep 100%. You can join free with unlimited uploads into one library and upgrade any time for 100+ libraries and briefs.

Join That Pitch free

FAQ

What is a music synchronization company?

It is a business that gets music licensed into visual media such as TV, film, ads, and games. Sync agencies, music publishers, sync libraries, and clearance companies all fall under the term.

How is a synchronization company different from a sync library?

An agency or publisher represents a small set of songs and pitches them directly. A sync library holds a large pre-cleared catalog that buyers search on their own. Libraries give reach and agencies give focused pitching.

Do music synchronization companies take a cut?

Most earn a share of the license fees they bring in, and some publishers also take a share of your publishing income. The split is set in your contract, so read it before you sign.

Do I need a synchronization company to get placements?

No. Many independent artists get placements through sync libraries or by licensing directly. A company can help, but clean rights, good files, and accurate metadata matter most.

Should I sign exclusively with a synchronization company?

Only for specific tracks, with a company that clearly places your style, and with a clear term and exit. Many artists keep most of their catalog non-exclusive so it can reach more buyers.

Can I work with several synchronization companies at once?

Yes, if the deals are non-exclusive. Keep a record of every track, company, and title so statements and registrations stay clear.