If you’re a musician, composer, or producer trying to break into the world of sync licensing, you’ve probably heard that connections are everything. You need to know the right people, build relationships, and find the gatekeepers who can actually get your music placed.
That’s all true. But there’s a shortcut that most artists overlook, or worse, misuse: directories.
Directories can be one of the most powerful tools in your licensing strategy. But like any tool, they need to be used correctly to actually move the needle. Let’s break down how to use them effectively, avoid common mistakes, and start landing real
deals.
Target Your Pitches to the Right People
One of the biggest mistakes artists make is blasting their music to every contact in a directory without considering whether their tracks are actually a good fit. Just because someone works in the sync world doesn’t mean they’re looking for every genre. For example, some
libraries specialize in high-energy trailer music, while others focus on subtle, emotional cues for TV dramas. A publisher that mainly licenses retro funk is not the right target for your dark, cinematic soundscapes, and sending them the wrong tracks is a fast way to get ignored.
Before you hit send, do a little research. Look at the kinds of placements a company has landed in the past. Listen to
some of the tracks they represent. Read their submission guidelines carefully. If a company explicitly says they only license instrumental music, don’t send them your vocal tracks. The more you can align your sound with what they’re actually looking for, the better your chances of getting a response.
Personalize Every Email for Maximum Impact
Music supervisors, library owners, and publishers get hundreds of submissions a week. Most of those emails are generic, copy-paste pitches that do nothing to stand out. One of the simplest but most effective ways to get noticed is to personalize each email. This doesn’t mean writing a novel about your life story. It just means taking a minute to show you’ve actually done your homework.
For example, if you know a company recently placed a track in a Netflix series or a major ad campaign, mention it. If you see that a supervisor has a particular style they like, reference that in your pitch. This small effort shows that you respect their time and understand their world. It turns a cold pitch into a potential relationship.
For instance, instead of just saying,
“Here are some tracks I’d like you to consider,” try something like, “I saw you recently placed a track in the new [Show Name] trailer, and I have a few cinematic cues with a similar tone that I think would be a great fit for similar projects.”
Keep Your Pitches Professional and Direct
This one is huge. It doesn’t matter
how great your music is if your email is a mess. No one wants to scroll through paragraphs of background information or sift through a dozen random links. Keep your emails short, direct, and professional.
Introduce yourself briefly, mention any relevant credits, and include a single, clickable link to a curated playlist of your best, most sync-ready tracks. Make sure the playlist works, streams
quickly, and has clearly labeled tracks. If you’re sending a Disco or SoundCloud link, double check that it’s set to private or unlisted but still shareable. And never, ever attach MP3s to your initial pitch. It clogs their inbox and looks unprofessional.
If your tracks are cleared for one-stop licensing, mention that. This is a huge plus for music supervisors who don’t want to deal with clearance
headaches.
Follow Up the Right Way
If you don’t hear back right away, don’t panic. Sync deals take time. A lot of the time, your email just got buried in a busy week. It’s perfectly fine to follow up, but keep it short and polite. A simple message like, “Hi [Name], just checking in to see if you had a chance to listen to
the tracks I sent over a couple of weeks ago. Let me know if anything stood out or if you’re currently looking for something different,” can work wonders.
What you don’t want to do is send a second, third, or fourth follow-up if you still don’t hear back. At that point, you risk coming off as pushy or desperate, which can backfire. Move on, keep building your network, and focus on the relationships
that show potential.
Track Your Progress to Avoid Wasted Effort
One of the biggest mistakes I see artists make is sending out tons of emails without keeping track of who they’ve contacted, what they sent, and when they followed up. This can lead to embarrassing situations where you pitch the same song to the same person
multiple times, or worse, forget to follow up with someone who actually showed interest.
Keep a spreadsheet or CRM where you log every contact, every pitch, and every response. This simple step can save you hours of confusion and help you refine your approach over time.
