How to Get Your Music Licensed for Film & TV (Without Getting Scammed)
The world of sync licensing is full of scams, from fake music libraries to pay-to-play schemes that rarely lead to real placements. If you’re an artist looking to get your music into films, TV shows, ads, and games the right way, here’s what you need to know.
Sync Licensing is the process by which an artist is able to “sync” their music for movies and television.
“Sync” really just means that an artist has prepared and pitched their music through the right processes, and that has resulted in someone choosing their song to be in a film or on broadcast television.
The methods involved in preparing for, pitching to, and actually landing a gig in the film/television world is a bit complex, as well as poorly understood by independent artists.
It’s a whole different game than everything else you’ve had to learn for your music career so far. And whenever there is confusion and misinformation in this industry, it creates the perfect breeding ground for scams. But remember, knowledge is scam repellent. Read on to give yourself the upper hand.
🐰 Step 1: Be Sync-Ready
Before you start pitching, your music must be:
🎚️ Professionally Mixed & Mastered
Supervisors need broadcast-ready tracks, not demos.
🎹 Instrumentals Available
Many placements require instrumental versions for flexibility.
🏷️ Metadata Tagged
Include title, artist name, genre, mood, keywords, BPM, contact info, and copyright details in your file metadata.
🔏 Fully Cleared
If you have co-writers, producers, or samples, you must have split sheets and clearance for sync use.
🐰 Step 2: Register Your Music
To get paid properly, your music should be registered with:
Performing Rights Organizations (PROs)
The following are standard choices: ASCAP, BMI, or SESAC
MLC (Mechanical Licensing Collective)
This is for digital mechanical royalties
SoundExchange
This is for digital performance royalties on streaming radio or digital TV
Some supervisors require cue sheets, which track how your song is used. Having your music properly registered ensures you receive back-end royalties when it airs.
🐰 Note that if you’ve ever paid to have your music pitched to movies or TV, and they haven’t checked to be sure you’re affiliated with BMI or ASCAP, you’ve been scammed. That’s because, if your music were synced to movies or TV but you weren’t registered with ASCAP or BMI, you wouldn’t be able to get paid from it. That’s why this next step is so important. As such, let’s take the time to dive into this part fully, so you can better understand how to register with a PRO and what your various options are in that space.
Which PRO Should I Pick?
There’s no wrong answer here, but the two most common choices are ASCAP and BMI. Speaking personally, I use BMI – but I actually recommend ASCAP. What I didn’t know when I joined BMI is that I needed both a Writer and Publisher account to get all of my royalties. With ASCAP, that distinction has been streamlined into a joint account option, and for those reasons I definitely recommend them over BMI. But, if money is no object, they are essentially the same when it comes to what they offer an artist, so it’s really just a matter of personal preference.
🐰 BMI (Broadcast Music, Inc.) and ASCAP (American Society of Composers, Authors, and Publishers) are both Performing Rights Organizations (PROs) that collect performance royalties for songwriters and publishers. You need to sign up with one of them in order to sync your music to films (and get paid for it).
The sign-up process for BMI differs slightly from ASCAP, and there are some key differences between the two. Read on to learn more, or skip over this part if you’re already a member of one of these organizations.
Let’s look at how to sign up for both ASCAP and BMI:
ASCAP
To join, you’ll want to navigate to the “join” page on ASCAP’s main website. If you’re an English-Speaker, that can be found here:
Join ASCAP:
Then, you’ll be given three options to choose from in terms of how you’ll be represented when it comes to your music ownership.
To make this more simple, here’s what you need to know:
If you’re an independent artist, and you use a distribution service like DistroKid or TuneCore, you’re both the writer and the publisher of your music. If you’re signed to a label or operating under relatively outdated industry architecture, you might already have a publishing company as well as a bespoke distribution company. You will know if this is the case for you. If you aren’t sure, I can promise you that you fall under the first category, meaning you’re both the writer and the publisher of your music.
Fun Fact:
Did you know that, when it comes to music ownership, technically a “writer” is anyone who composes something. This includes the lyricist, the artist performing the song, and the beat producer. So, when a producer composes beats for artists to buy and record to, they’re also considered a “writer” in the context of music ownership. Don’t worry, if you purchased your beat, this doesn’t mean you don’t fully own your song (usually). If you’re the artist on the song and you have purchased your beat, your beat license (which should have come along with your purchase) allows you to use that beat. You can operate as if the beat is yours, assuming you legally purchased it. The producer of that beat may be doing the same thing, but that generally only becomes an issue if you have a large audience or you’re making a good deal of money. Exclusive vs. Limited Licenses, as well as something called Points, are topics for a later discussion.
Sign up for Writer & Publisher Account (ASCAP)
Before Picking ASCAP, Read This:
Understanding the ASCAP Payout System
1. ASCAP Pays Two Royalties per Song
ASCAP splits performance royalties into two halves:
- 50% goes to the songwriter (composer/author)
- 50% goes to the publisher
If you only sign up as a composer, you won’t receive the publisher share of your royalties unless a publishing entity is set up.
2. You Are Your Own Publisher
If you’re independent and not signed to a publishing company, you need to also register as a publisher to collect that extra 50%. So for ASCAP specifically (though not for BMI) you need to:
Sign up for an ASCAP Writer + Publisher Account (this used to cost a one-time fee of $50, but is now free)
Without a publisher account, ASCAP keeps the publisher share of your royalties, meaning you’d only receive half of what you’re owed.
3. DistroKid is NOT Your Publisher
✍🏻 DistroKid does not collect ASCAP/BMI royalties. It only distributes your music to streaming services and stores.
DistroKid does have an optional “DistroKid Publishing” (aka DistroKid SongTrust) service, but that only covers mechanical royalties (not performance royalties from ASCAP/BMI). If you’re handling your own publishing admin, you don’t need that add-on.
4. How to Register Your Songs Properly
Once you’re set up with both a writer and publisher account:
- Log into ASCAP
- Register each song under your Writer and Publisher name
- Make sure your name is listed under both ‘Composer’ and ‘Publisher’
Bottom Line:
DistroKid does not replace a publishing admin (like SongTrust, TuneCore Publishing, or DIY registering with ASCAP).
🐰 If you want all your performance royalties, sign up as both a writer and a publisher. Without the dual writer/publisher account, you only get half of your ASCAP earnings.
BMI
To join, you’ll want to navigate to the “join” page on BMI’s main website. That can be found here:
Join BMI:
Before Picking BMI, Read This:
How to Sign Up for Two BMI Accounts
How to Sign Up for BMI
Step 1: Register as a Songwriter
- Go to BMI’s official website.
- Click Join as a Songwriter.
- Fill out your personal information (legal name, address, etc.).
- Agree to the terms and conditions.
- Submit your application (it’s free for songwriters).
- Receive your BMI account number (this can take a few days).
Step 2: Register as a Publisher
(Optional but Recommended)
To collect your publisher share, you need to create a publisher account:
- Go to BMI’s Publisher Application.
- Click Join as a Publisher.
- Choose your business type:
- Individual/Sole Proprietorship – Best for most indie artists.
- LLC, Partnership, or Corporation – If you plan to run a publishing business.
- Pay the $175 one-time fee.
- Submit your application and wait for approval.
🚨 Without a publisher account, BMI keeps the publisher share of your royalties—so if you want the full payout, it’s worth setting up.
Step 3: Register Your Songs with BMI
Once you’re approved:
- Log into your BMI account.
- Click Works Registration.
- Add song details (title, co-writers, splits).
- Enter yourself as both the songwriter and publisher (if you have a publisher account).
- Submit and track your registrations
Sign Up For Songwriter Account (BMI)
If you decide to go with BMI instead of ASCAP, here’s how to register:
☝🏻 Remember: You Need Two Accounts if you Choose BMI.
BMI requires separate accounts for songwriters and publishers, unlike ASCAP, which has a joint account option where you can register for both at once. BMI keeps these two things separate, which means you either have to pay to sign on as a publisher (a 5 year contract) or you just sign on as a songwriter and lose half of your revenue.
- Songwriter Account – Free to join
- Publisher Account – $175 one-time fee (for individual or a sole proprietorship)
🚨 Important: If you’re independent and self-releasing music (e.g., through DistroKid), you’ll need both a Songwriter and Publisher account to collect 100% of your performance royalties.
🐰 Step 3: Choose The Right Licensing Channels
There are three legitimate ways to get sync deals:
Option One:
Direct-to-Music Supervisor Pitches
Music supervisors handle placements for movies, TV, ads, and trailers.
Music Supervisors – Characteristics:
- Work under tight deadlines
- Need specific song styles based on mood or theme
- Prefer pre-cleared tracks (one-stop licensing)
How to Find Music Supervisors:
- Research credits on IMDb for shows & movies that fit your style
- Follow them on LinkedIn, Twitter, and Sync Facebook groups
- Attend industry events like SyncSummit, Billboard Film & TV, or Taxi Road Rally
🚨 What NOT to Do:
- Cold email generic pitches with a huge list of songs
- Send MP3 attachments (send a private streaming link instead)
- Pitch music that doesn’t fit their current project
Option Two:
Sync Licensing Libraries & Agencies
These companies work as middlemen between artists and supervisors.
Reputable Sync Libraries:
- Musicbed
- Artlist (not for movies; it’s for royalty-free music)
- Audio Network
- Marmoset
- Crucial Music
- Position Music
- APM Music
- Pond5 (also for stock/royalty-free placements)
⚠️ Avoid scam libraries that charge upfront “submission fees” or promise placements in return for money. There should be no fee.
Option Three:
Sync Agents / Reps
Some artists hire a sync agent to pitch their music.
- They take a cut (usually 30-50%) but can help land higher-paying placements.
- Good agents already have strong industry connections.
- Legit sync agents don’t charge upfront fees. If they ask for money to “represent” you, run.
🐰 Step 4: Pitch Your Music
When you send music to a supervisor, library, or agent, include:
✔ A short email:
1-2 sentences on why your song fits their project
✔ Streaming link
You can use a cloud sever like Dropbox or WeTransfer, or send a link to the song on Spotify or other DSPs
✔ Instrumental version
For flexibility
✔ Metadata included
So they don’t have to ask
🐰 MSA Tip: If your song is in a similar style to something already synced, mention it (e.g., “This song has a vibe similar to [insert song] from [insert show].”)
🐰 Step 5: Build Long-Term Relationships
I know you’ve probably encountered companies who claim to just be able to pitch your music to major motion pictures and all you have to do is sit back and wait for the money to roll in. Those are always going to be scams, because that’s simply not how this industry works. Sync is a relationship game. You won’t get anywhere without at least attempting to build them. We agree, it’s kind of annoying. But, that’s the game – so it’s time to play by the rules or get off the court, right?
- Once you land a placement, stay in touch with the supervisor.
- Keep your catalog organized so they can easily request more songs.
- Attend networking events and online panels.
🚩 Avoid These Sync Scams
🚩 “Pay us $500 to submit your song for placements”
Legit supervisors don’t charge submission fees.
🚩 “We guarantee you a sync placement”
Nobody can promise a placement.
🚩 “Give us your song’s publishing, and we’ll get you placements”
Never sign away full publishing.
🚩 “We place artists on Netflix/MTV for $X/month”
These scams take your money and submit to libraries you can access for free.
🐰 Best Practices:
Make sure your music is professionally mixed, mastered, and pre-cleared to ensure it meets industry standards and can compete in the marketplace.
Register your music with ASCAP/BMI to protect your rights, as well as with SoundExchange and MLC for additional revenue streams from digital distributions. If you’ve ever paid for sync submissions, you’ve been scammed. But it’s a double scam if they didn’t ensure you were registered with BMI or ASCAP first. You can’t get paid from having your music in movies or TV unless you’re registered with a PRO first.
Build connections with music supervisors through platforms such as IMDb and LinkedIn, and participate in industry networking events to foster relationships that can lead to valuable opportunities.
Submit to trusted libraries like Musicbed, Artlist, and APM Music, as these platforms have established credibilities and can significantly boost your exposure. Work with reputable sync agents (but only if they’re selective and commission-based) to maximize your chances of getting your music placed in high-profile projects.
Always send music in an easy-to-use format (no MP3s, no super-long, or super-vague emails), as professionals appreciate well-organized submissions that allow for quick listening and assessment.
Stay consistent in your efforts — sync takes time and perseverance, but remember that one big placement can be life-changing, propelling your career to new heights and opening doors you never thought possible.
Final Thoughts:
Sync licensing is competitive but rewarding. Unlike streaming, where payouts are low, a single sync can earn $1,000 – $100,000+ depending on usage. The key is persistence, great music, and real industry connections.
By avoiding scams and following the right channels, you’ll set yourself up for long-term success in the world of sync licensing.
MSA is Here to Help:
✍🏻 Got a sync opportunity you’re considering? Let us know who it is, and we’ll help you vet it. Just use our Reports Portal to tell us the name of the company or person you’re considering working with. We’ll check them out, and email you with our findings. For free.
🐰 Stay safe out there, and remember – you’ve got this!
Stay in the loop,
– Music Scam Alert Staff
don’t get duped.
