How to Get Started in Sync Music: Your Guide to Success

Did you know that the global sync licensing market is projected to reach $2.5 billion by 2026? The world of sync music is booming, and there’s never been a better time to jump in. This article is here to give you details how to get started in sync music.

Let’s start with the basics. Sync music, short for synchronization music, is all about creating tunes that get paired with visual media. We’re talking about movies, TV shows, commercials, video games - you name it. It’s the background sound that supports emotional scenes, or those epic game moments that add excitement.

Now, here’s where it gets interesting. In the sync world, there are music supervisors and sync agents. Think of them as the matchmakers between your tracks and the next big Netflix series. They’re always on the hunt for fresh sounds, so getting on their radar is key.

One thing I learned so far is that sync music is a whole different ballgame from writing a chart-topping single. It’s not about becoming the next pop sensation; it’s about creating versatile, mood-setting tracks that can enhance visual storytelling. Sync music is called “Production Music” because it’s about supporting productions.

First, music production techniques. You don’t need a fancy studio. I have an office that I created as a small home studio. What you DO need is to know your way around a Digital Audio Workstation (DAW). Logic, Ableton, Pro Tools, Reaper - pick one and master it. For details on some of the various DAWs, read my article HERE.

Composition and arrangement skills are also important. I can’t tell you how many times I’ve had to rework a track because it didn’t quite fit. You’ve gotta be flexible, ready to chop and change at a moment’s notice.

Synch music does not limit itself to a single music genre. Get comfortable with ALL genres. In synch music, you might craft a heart-wrenching piano piece one day, and an EDM track the next day. Versatility is your best friend in this game.

Lastly, keep your finger on the pulse of current trends in media music. What’s hot in commercials right now? What sounds are trending in reality TV shows or indie films? Stay curious and keep learning.

You don’t need the high-end gear to get started. Here’s what you really need to get going:

1. A Solid DAW: This is your workhouse. I started learning audio production with GarageBand. It came free with my MacBook Pro and I learned to make it work for me. I’ve tried some others and just couldn’t find one I felt comfortable using. I’m now using Reaper. It has everything I need, but I can still get a little lost in it. It’s important to find one that works with your workflow.

2. MIDI Keyboard Controller: A simple MIDI keyboard controller can work wonders. I use an M-Audio Oxygen Pro Mini 32-key USB MIDI keyboard. It’s inexpensive and does a great job. Check out my detailed overview of MIDI Keyboard Controllers Here.

3. Studio Monitors (or REALLY Good Headphones): Don’t skimp here. You need to hear your tracks clearly. I use an Audio Technica ATH-M30x Professional Studio Monitor Headphones. You don’t want to spend a lot of time mixing and mastering a track and have it rejected because the sound is muddy. For less than $70 bucks, you can have sound monitoring quality that can help you make $$ thousands in ongoing royalties..

4. A Quality Microphone: Even if you’re not a singer, you’ll be surprised how often you might need to record random sounds or voiceovers. I use an Audio Technica AT2035 XLR microphone. If you’re just starting out and want to save a bit, you can get the AT2020 XLR microphone for less than $100.

5. A Quality Audio Interface: I have the Scarlett 2i2 Audio Interface and looking back on my Amazon purchases, I bought mine 8 years ago, and it works great. It has two connections. I have my XLR microphone, a guitar, and my studio monitor headphones for live monitoring.

Invest in some quality sound libraries and virtual instruments too. They’re lifesavers when you need to create an orchestral piece for a deadline. Many of the DAWs come with virtual instruments, and there are also plenty of free ones online. Be sure to SUBSCRIBE for notifications when I post new articles. I have articles planned on these coming up soon.

As for your workspace, create a spot that inspires you. My first “studio” was a small corner of a bedroom with studio sound protection. It wasn’t pretty, but it got the job done. The key is to have a space where you can work efficiently and create without distractions.

Now we’re getting to the good stuff. Crafting sync-friendly music is an art form in itself. Here are some tips:

1. Hooks are Everything: In synch music, you often only have a few seconds to make an impact. Always aim to write catchy hooks that grab attention quickly.

2. Versatility is Key: Create arrangements that can be easily edited. It’s important to make a full version, then create cut-downs (60 sec, 30 sec, 15 sec). It’s a pain, but music supervisors love it!

3. Always Make Instrumental Versions: I can’t stress this enough. A supervisor might love one of your tracks but need it without vocals.

4. Master the Art of Stems: Provide separate stems for your tracks (drums, bass, melody, etc.). It gives editors more flexibility to fit the music to the visuals.

5. Don’t Neglect Sound Design: Sometimes, it’s the weird atmospheric noise in the background that makes your track perfect for a scene. Get creative with your sound design.

Remember, in synch music, it’s not just about making great music - it’s about making music that serves the visual story.

Now for the legal stuff. I know, I know, it’s not the most exciting part, but understanding this can save you a lot of headaches (and potentially make you a lot more money).

First things first, copyright law. Basically, as soon as you create an original piece of music, you own the copyright. But here’s the kicker - in synch music, there are actually two copyrights for every song: the master recording (the actual audio file) and the composition (the underlying musical work, like the melody and lyrics).

For sync licenses, you’ll deal with two types:

1. Master License: Permission to use the actual recording.

2. Synchronization License: Permission to use the composition.

If you’re both the performer and the songwriter, congratulations. You control both. But if you’ve worked with other people, make sure you’ve got clear agreements about who owns what.

Now, let’s talk about Performing Rights Organizations (PROs) like the American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music, Inc. (BMI), or Society of European Stage Authors or Composers (SESAC). These organizations collect performance royalties when your music is played on TV, radio, or in public. If you’re just starting out in the U.S., then you’re limited to either ASCAP or BMI. Sign up with one of them ASAP!

When you join a PRO, be sure to register EVERY track you create. It takes about a minute to register, but that minute can save you from missed royalties.

Okay, now it’s time to show off your hard work! Building an amazing portfolio is essential in the synch music world. Here’s how to make yours stand out:

1. A Diverse Catalogue is Your Friend. Remember when I said versatility was key? This is where it pays off. Make sure your portfolio showcases a range of genres, moods, and styles.

2. Organization is Crucial: Music supervisors don’t have time to dig through a messy catalog. Organize your tracks by mood, genre, and instrumentation. Make their job easier, which makes them more likely to use your music.

3. Metadata Matters: This is a game-changer. Properly label your tracks with clear titles, descriptions, and tags. Include tempo, key, instruments used - anything that might help a supervisor find exactly what they’re looking for.

4. Create an EPK (Electronic Press Kit): This is like your music resume. Include your bio, notable placements, and links to your best work.

5. Have a Professional Online Presence: Whether it’s a slick website or a well-curated SoundCloud profile, make sure you have a professional-looking online home for your music.

Remember, your portfolio is often your first impression in this industry. Make it count!

In the synch music world, who you know can be just as important as what you know. Networking is crucial to your success.

Here are some ways to get out there and make connections:

1. Attend industry events and conferences: You never know where that next big opportunity might come from!

2. Join online communities: There are tons of forums and Facebook groups for synch composers. I’ve learned so much from these communities.

3. Collaborate with other musicians: We don’t live in a bubble and you’ll find that some of your best tracks will come from collaborations. Plus, it’s a great way to expand your network.

4. Build relationships with music supervisors and sync agents: This takes time, but it’s worth it. Treat every interaction professionally, be reliable, and always deliver quality work.

Remember, networking isn’t about hard selling. It’s about building genuine relationships. Be yourself, be interested in others, and the connections will follow naturally.

Okay, so now you have created some awesome tracks. Now, it’s time to get your music out there. Here’s how to approach submissions:

1. Research, Research, Research: Not all music libraries or sync agencies are created equal. Some specialize in certain genres or types of media. Do your homework and target the ones that fit your style. How long have they been in business? What placements have they had? Find out as much as you can about them.

2. Prepare Your Music: Make sure your tracks are broadcast quality, properly tagged, and in the right format (usually WAV files).

3. Craft a Killer Pitch: Keep it short, sweet, and to the point. Highlight what makes your music unique and why it’s perfect for sync.

4. Follow Up (but don’t be annoying): If you don’t get a reply, it’s okay to follow up once. But remember, these folks are busy. Don’t spam them.

5. Be Patient: Landing your first sync can take time. While you’re waiting, keep creating, submitting, and stay positive!

Now, it’s time to look at money. Understanding how you get paid in the sync world is not always straightforward. But don’t worry, I’ll break it down for you.

In sync licensing, you can earn money in two main ways:

1. Upfront Fees: This is a one-time payment for the use of your track. The amount can vary wildly depending on the project, from a few hundred bucks for a small indie film to tens of thousands for a major ad campaign.

2. Backend Royalties: This is where PROs come in. Every time your music is broadcast, you earn a small royalty that’s generally paid quarterly. These can add up over time, especially if you land a placement in a popular show.

To make sure you’re getting all the money you’re owed, you need to:

1. Register all your tracks with your PRO

2. Keep detailed records of all your placements

3. Consider working with a music publisher who can help track and collect your royalties

Managing your sync income can be tricky, especially as you land more placements. I’d recommend keeping a separate account for your music earnings and setting aside a portion for taxes.

We’ve covered a lot of ground here. Getting started in synch music can feel overwhelming at times, but it’s an incredible journey.

Remember, everyone starts somewhere. With each track, each pitch, each placement, you’ll learn and grow.

The key is to keep creating, keep learning, and keep putting yourself out there. The synch music world is always hungry for fresh, quality content. Why shouldn’t that content be yours?

So, what are you waiting for? Fire up that DAW, start creating, and who knows? The next time you’re watching your favorite show, you might just hear your own music playing in the background.

How Cool is That?

Relevant Topics:

Audio Production, Broadcasting Royalties, Digital Audio Workstation, Music Licensing, Music Supervision, Performance Rights Organizations, Production Music, Sound Libraries, Sync Agents, synchronization licensing