AI is rapidly transforming the music industry, and sync licensing is one of the areas being impacted the most. What used to take hours or days in a studio can now be done in minutes using generative tools like Suno, Udio, and Aiva. These platforms can create instrumentals, full arrangements, even vocals, all from a single text prompt. That kind of power is both exciting and unsettling,
especially for musicians trying to make a living licensing their music.
I’ve been experimenting with these tools myself. I’ve used them to create demos, flesh out production ideas, and explore new styles. There’s real value in using AI to speed up the creative process. But when it comes to licensing music for TV, film, and ads, there are important legal and professional boundaries that artists need to understand.
This
isn’t just about technology. It’s about ownership, copyright, industry trust, and whether what you create can actually be used in a commercial context. Let’s unpack what’s happening and where this is going.
Can AI Music Be Licensed for Sync?
This is the question on everyone’s mind, and the answer is not straightforward. Most of the current AI platforms offer a commercial license, which lets you use the music in
things like YouTube videos or online content. But commercial use is not the same thing as sync licensing.
In sync, you are licensing both the composition and the master recording. If you don’t own the copyright to either, or if the terms of the AI platform prevent you from registering or monetizing the track, then most music libraries and supervisors will not touch it. The legal risk is too high.
Platforms like Suno, for
example, give you broad usage rights but do not allow you to register the music with a performing rights organization. You cannot claim traditional copyright on a track that was fully generated by AI. That immediately limits your ability to license it in professional settings where proper registration and royalty collection are required.
Copyright Law Is Still Catching Up
Under current U.S. law, works created
entirely by AI are not eligible for copyright protection. The Copyright Office has been clear about this. If a human didn’t create it, the law does not consider it a protected work. That means if you generate a track using AI and try to license it to a network show or an ad agency, you might run into serious legal roadblocks.
Some artists are trying to get around this by using AI as a co-writer or production assistant rather than a full composer. For example,
they might input their own lyrics or melodies, then build out the track with AI-generated instrumentation. In cases like this, you may be able to claim copyright on the human elements you contributed. But even this is a gray area.
The safest option is to use AI as a creative tool, not as the sole composer. Add your own vocals. Play an instrument. Rework the arrangement. Make the final result something that reflects your authorship.
That gives you a much stronger position if you want to license the track.
Are Music Libraries Accepting AI-Generated Tracks?
Most are not, at least not openly. The majority of professional music libraries are being very cautious with AI-generated content. They need to be able to prove chain of title and ensure there will be no copyright disputes down the line. If they can’t verify who owns
the track, or if the metadata is unclear, they’re going to pass.
That said, some smaller libraries and indie sync platforms are beginning to test the waters. A few are accepting AI-assisted tracks as long as the creator can confirm they own the rights and that there is a human contribution involved. These placements tend to be in low-risk environments like online video, internal corporate use, or low-budget indie films.
There are also libraries being built around AI from the ground up. These platforms focus on royalty-free sync options for content creators and YouTubers, where the legal threshold is lower and the volume is higher. But this is still a niche. We’re not yet seeing fully AI-generated music in major network shows or national ad campaigns.
Real-World Examples Are Starting to
Surface
While there are no known cases of major placements involving fully AI-generated music, there are real examples of AI being used behind the scenes. Editors are using AI tracks as temp music. Some production companies are creating underscores or background cues with tools like Aiva or Soundraw. In many cases, these tracks are placeholders that are later replaced by human-created music. But the fact that AI is even entering the workflow is a sign of where
things are headed.
In the world of indie content, AI-generated music is already being used. YouTube creators, podcasters, and small game developers are licensing music from AI-powered libraries. Some of these tracks are background instrumentals. Others are full compositions generated with minimal human input. This is not traditional sync, but it is still a form of music licensing.
Using AI as a Creative Tool, Not a Replacement
This is where I think the real opportunity is. Instead of relying on AI to generate finished tracks, use it to enhance your workflow. AI can help you create faster demos. It can suggest chord progressions or arrangement ideas. It can fill in gaps in your production when you’re stuck. But you still need to own the final product.
In my own work, I’ve found AI incredibly
useful for generating alternate versions of songs, trying out different genres, or getting a track started quickly. But I always add a layer of human touch. Whether it’s live instrumentation, custom vocals, or rewriting the structure, that human input makes the track yours. And it makes it licensable.
Where This Is All Going
Right now, we’re in a transition period. AI is not fully trusted by
the industry, and there are serious legal and ethical questions that still need to be answered. But the technology is not going away. In fact, it’s going to keep getting better. In a few years, AI-assisted music may be the norm in some corners of the sync world. But for now, musicians need to be smart, careful, and well-informed.
Best,
Aaron Davison
HTLYM Premium
