Every time you hear music in a film, a television series, an advertisement or a digital campaign, sync licensing made it happen. It is one of the most commercially important areas of the music industry, and one of the least understood by the brands and creative professionals who rely on it most.
This guide explains how sync licensing works, what it costs, who is involved, and how to find the right music for your next project.
What is Sync Licensing?
Sync licensing is the process of obtaining permission to use a piece of music alongside visual content. The term comes from “synchronisation” – the technical act of matching audio to moving image.
When a production company wants to use a song in a film, or a brand wants to use a track in a commercial, they need two things: a synchronisation licence from the music publisher (covering the composition) and a master licence from the record label or artist (covering the specific recording). Both licences are required for most commercial uses.
The terms of a sync licence vary depending on how the music will be used, where it will be shown, for how long, and across which territories. A social media campaign running for three months in the UK requires a very different licence to a global broadcast campaign running indefinitely.
How the Sync Licensing Process Works
Step 1: The Brief
It starts with a brief. A music supervisor, creative director, brand manager or producer identifies what kind of music they need. This might be a specific genre, a particular emotional tone, a tempo range, or a reference track that captures the feel they are looking for.
The brief is sent to music libraries, sync agencies or boutique music houses who then pull relevant tracks from their catalogues or commission original music.
Step 2: Track Selection
The receiving party curates a shortlist of tracks that match the brief. In a library model, this is often algorithm-driven. In a boutique model, it is done by experienced music professionals who have spent years understanding what works in a commercial context.
The shortlist is presented to the client, who selects a preferred track (or tracks) for further consideration.
Step 3: Licensing and Clearance
Once a track is selected, the licensing process begins. This involves confirming rights ownership, agreeing on usage terms, negotiating fees, and issuing the appropriate licences. For tracks in a managed catalogue, this process can be completed quickly. For third-party music where rights are split between multiple parties, it can take significantly longer.
This is one of the reasons many brands and production companies work with sync agencies or boutique music houses who control their catalogues directly – it removes the friction and uncertainty of rights clearance.
Step 4: Delivery
Once licensed, the music is delivered in the required format. This typically includes the stereo master, stems for mixing flexibility, and any alternative versions (instrumental, cutdowns, different durations) needed for the production.
Types of Sync Licensing
Broadcast advertising covers music used in television commercials and cinema advertising. These licences are typically structured around usage territory, broadcast duration, and the number of plays (measured in impacts or ratings points).
Online and digital covers music used in online video, social media campaigns, YouTube pre-rolls and digital out-of-home. These licences are usually structured around views, duration and platform.
Film and TV covers music used in feature films, television series, streaming content and documentaries. These licences are typically flat-fee buyouts for a defined set of rights.
Branded content covers music used in brand films, corporate videos, event activations and experiential campaigns. Terms vary widely depending on the scale and reach of the project.
In-store and experiential covers music used in retail environments, events and live experiences. These often require separate licences from performing rights organisations in addition to the sync licence.
Sync Licensing Fees: What to Expect
Sync licensing fees vary enormously depending on the music, the usage and the parties involved. A track from a major artist used in a global television campaign can command six-figure fees. A track from an emerging artist used in a regional digital campaign might cost a few hundred pounds.
The main factors that affect sync fees are:
- The profile of the artist or composer – established artists command higher fees
- The nature of the usage – broadcast advertising pays more than online-only
- The territory – global rights cost more than single-territory
- The duration – longer licences cost more
- Exclusivity – if you want to prevent the music from appearing in competitor campaigns, exclusivity is available at a premium
For brands working with a boutique music house like Synchromusic, fees are typically structured as flat-rate licences with clear terms, so you know exactly what you are paying for and what rights you receive.
Sync Licensing vs. Music Libraries
Music libraries offer large catalogues of pre-cleared music available for immediate licensing, often on subscription or per-track pricing models. They are useful for projects with tight budgets and timelines where speed and cost efficiency are the priority.
Boutique sync licensing works differently. Rather than searching a catalogue yourself, you brief a team of music professionals who curate tracks specifically for your project. The tracks are selected by people who understand your brand, your audience and your campaign objectives – not by an algorithm.
For brands where music is a meaningful part of the creative, the boutique approach consistently produces better results. The music fits more precisely, the licensing process is smoother, and the final product is more distinctive.
Working with a Sync Licensing Partner
The best sync licensing relationships are partnerships, not transactions. A good music house or sync agency takes time to understand your brand’s sonic identity – not just what you need for this campaign, but what kind of music makes sense for your brand long-term.
At Synchromusic, we work with brands, advertising agencies, production companies and broadcasters across the UK, Europe and the US. Our catalogue spans cinematic orchestral, contemporary electronic, indie, world music and everything in between. Every track is either composed in-house or sourced from a handpicked roster of independent artists and composers we work with directly.
When you brief us, we come back with a curated shortlist – not a library search result, but a selection made by people who have spent years placing music for campaigns and productions. We handle licensing, clearance, stems delivery and any format adaptations your project requires.
Our clients include Jaguar, BMW, MINI, LEGO, Disney+, HBO and Ubisoft. We understand the standards these brands work to, and we apply the same level of rigour to every brief we receive.
If you are working on a project and need to find the right music, get in touch and we will come back with a shortlist within 24 hours.
If you want to understand how sync licensing fits into a wider music strategy for your brand, read our guide to sonic identity for brands or explore what custom music composition can offer when off-the-shelf tracks are not enough.
You can also browse our selected works to hear what we have placed for some of the world’s leading brands.