Music supervisors are the gatekeepers to getting your songs placed in films, TV shows, commercials, and video games. Their job is to find the perfect track for every scene while balancing creative needs, licensing constraints, and budget limitations. Since they receive hundreds or even thousands of submissions, most artists never hear back. While they may seem
unreachable, understanding how they operate can dramatically increase your chances of landing placements.
This guide provides insights from real music supervisors so you can learn what they look for, how they make decisions, and what you can do to stand out.
Building Genuine Relationships is More Important Than Cold Submissions
Sending an email with a streaming link and a polite introduction isn’t enough. While some music supervisors listen to cold submissions, they overwhelmingly prefer working with artists and libraries they already trust.
Jen Malone, known for her work on Euphoria and Atlanta, emphasizes the importance of relationship-building. She says, “I
love when artists reach out and establish a connection. It makes it easier to think of their music when a suitable opportunity arises.”
Building relationships means showing up where music supervisors are. Attending sync licensing events, engaging with them on LinkedIn, and even supporting their past work can all make a difference. If a music supervisor recognizes your name and trusts your
professionalism, your music has a much better chance of being considered.
Your Music Needs to Solve Their Problems, Not Just Sound Good
Music supervisors are under pressure to find the perfect song for a specific scene. They are not necessarily choosing the “best” song but rather the one that fits the mood, pacing, and emotional tone of the project.
Amanda Krieg Thomas, a music supervisor for The People v. O.J. Simpson and Pose, explains, “It’s not about how good a song is in isolation. It has to work for the moment, for the budget, and for the project. The more versatile and adaptable your music is, the better.” (AmandaKriegThomas.com)
Study how music is used in different genres of TV and film. Understand what types of lyrics, themes, and instrumentals work best for sync licensing. A great song that doesn’t fit a scene’s needs will not be chosen.
Metadata Can Make or Break Your Submission
Many supervisors rely on massive music databases where they search for tracks using specific keywords. If your song is not tagged correctly, it may never show up in search results, no matter how good it is.
Nikole Luebbe, music supervisor at Warner Bros., says, “Detailed metadata helps us find the right track quickly. If you don’t label your songs
correctly with mood, tempo, instrumentation, and ownership details, we might not even see them.” (Berklee)
To make your music more searchable, include metadata such as:
- Genre
- Mood (uplifting, dark, emotional)
- Tempo (slow, medium,
fast)
- Instruments used
- Lyric themes
- Contact information and clearance details
Music supervisors do not have time to chase down missing information. If your song is difficult to find or license, they will move on to another option.
Clearance
Issues Are an Immediate Red Flag
Music supervisors do not want to deal with complicated rights issues. If your track contains uncleared samples, co-writers who have not approved sync licensing, or conflicting ownership claims, it is automatically off the table.
A music supervisor shared on Reddit, “If I hear a song I love but realize
it has multiple rights holders, I usually move on. It’s not worth the headache.” (Reddit)
If you are pitching your music, make sure you own all rights or
have agreements in place. Samples must be cleared, or your music must be 100 percent original. Licensing agencies and exclusive libraries often prefer one-stop tracks, meaning they control both the publishing and master rights, making clearance fast and simple.
Music Supervisors Don’t Have the Final Say
Even if a music supervisor loves your song, they might not have the power to approve its
use. Final decisions are often made by producers, directors, or brand executives.
This means you should never take rejection personally. A song might be perfect for a scene but still get cut due to budget issues, creative direction changes, or licensing conflicts. The best approach is to keep submitting music and maintain relationships. A supervisor who does not use your track today might remember it
for a future project.
Instrumentals Are in High Demand
Dialogue-heavy scenes often require instrumental tracks rather than full songs with lyrics. Jody Friedman, a respected music supervisor, says, “Instrumentals provide the emotional backdrop without competing with dialogue, making them invaluable in many placements.” (Instagram)
Always have instrumental versions of your songs available. Consider making stems accessible as well, which allows editors to mix your track in a way that fits their
needs.
One-Stop Tracks Are Preferred
Music supervisors love one-stop tracks because they streamline licensing. If multiple rights holders are involved, it can slow down or even kill a deal.
Amanda Krieg Thomas explains, “One-stop tracks simplify negotiations and expedite placements, making them highly attractive.”
If possible, own or control all rights to your songs. If you co-write music, get sync agreements in place with your collaborators ahead of time to avoid delays.
Budget Constraints Are a Real Factor
Not every sync deal is a high-paying commercial spot. Many indie films, reality TV shows, and web series work with tight
budgets.
A discussion on Reddit highlighted this: “Many TV shows operate on limited budgets. If you’re willing to negotiate fees, you can land more placements over time.”
If you want to make six figures from sync, it is often about volume. A $500 placement might not seem like much, but securing multiple
placements throughout the year adds up quickly.
Editable Music is More Valuable
Supervisors and editors often need to trim, loop, or adjust songs to fit a scene. Jen Malone advises, “Providing stems or alternate versions of your tracks can make them more appealing, as it offers flexibility in editing.” (Aristake)
Consider offering different versions of your songs, including 30-second and 60-second edits, instrumental versions, and alternative arrangements. This makes it easier for editors to work with your music.
Following Up Can Make a Difference
Music supervisors receive hundreds of submissions. If you don’t hear back, it doesn’t mean they aren’t interested. A polite and professional follow-up
email can keep you on their radar.
A veteran music supervisor shared, “I appreciate when artists follow up respectfully. Sometimes, I love a song but lose track of the email in my inbox. A simple reminder helps.”
The key is to be persistent but not annoying. A short, friendly check-in every few weeks can
increase your chances of landing a placement.
