Why You’re Not Getting Sync Placements (And How to Fix It in 2025)
If you’ve been pitching your songs to music supervisors and libraries but still aren’t landing any sync placements, I completely understand how frustrating that feels. You
might be thinking your music just isn’t good enough, but more often than not, it has nothing to do with your music itself.
In reality, artists struggle with sync placements due to a handful of common mistakes and misunderstandings. These mistakes are surprisingly easy to fix, and fixing them can dramatically change your results.
Here are several reasons you might be stuck and exactly what you can do to start landing real placements this year.
Your Contacts Are Probably Outdated
One of the biggest reasons artists fail to get placements is that they're pitching their music to contacts that are outdated or no
longer active. The sync licensing world moves quickly. Music libraries merge, supervisors move jobs, and companies that were thriving last year might not even exist now.
If your pitches are going unanswered, bouncing back, or landing in the inboxes of people who don't license music anymore, you’re wasting valuable time. This can make you feel like your music isn't good enough, but really, you're just
targeting the wrong contacts.
You're Not Targeting the Right Companies or Supervisors
Another common mistake is pitching to overly competitive targets or the wrong types of companies. Yes, landing your track on a Netflix series or a major brand campaign is exciting, but those opportunities typically attract thousands of
submissions from established artists with proven track records.
Instead, your time is better spent focusing on smaller, specialized sync companies and music libraries. Many boutique agencies actively seek indie music because they need fresh sounds and unique artists for niche projects. Finding these specialized companies dramatically increases your odds of getting noticed and eventually
placed.
Your Music Isn’t Clearly Sync-Ready
Even if your music sounds amazing, it might not be “sync-ready” from a supervisor’s perspective. Sync-ready means your songs are structured and produced specifically with licensing in mind. Tracks that get licensed frequently have clear emotional arcs, universal lyrical themes,
and production quality that immediately signals professionalism.
Supervisors have limited time. They won’t fix your track or spend hours figuring out how it fits their project. If your songs don’t clearly communicate the mood or feeling within the first few seconds, or if the lyrics are too specific or personal, your music is harder to place. Before pitching, always ask yourself: "Could someone
immediately picture this song supporting a visual scene?"
You’re Not Providing Alternate Versions of Your Tracks
This one’s crucial. Supervisors and editors often need alternate versions like instrumental-only mixes, clean edits, shortened cuts, or isolated stems. If you only have a single version of each song, you're
severely limiting your licensing opportunities.
Many supervisors specifically request instrumental versions because dialogue-heavy scenes or commercial voiceovers often can’t use tracks with vocals. If you’re pitching songs without alternate mixes, you might be missing out on placements for which your music is otherwise perfect.
You Don’t Have a Clear Submission Strategy
Randomly emailing music libraries or supervisors you find on Google isn’t a strategy, it’s guesswork. Successful sync artists know exactly who they’re pitching to, why their music fits, and how their tracks solve a supervisor’s specific needs.
If your pitches are vague or your
emails simply say something like, "Check out my latest song," you're relying entirely on luck. Instead, approach every submission clearly explaining the emotions your track conveys, what type of scenes it suits, and the licensing details (like ownership and rights clearance) upfront. The clearer your pitches are, the higher your odds of getting placed.
You’re Not Following Up the Right
Way
Following up is crucial, but there’s a right and wrong way to do it. If you follow up too soon, too often, or too aggressively, you’ll quickly annoy the person receiving your pitch. But if you don’t follow up at all, your submission can get lost or forgotten, even if the supervisor originally liked your song.
A good approach
is to send a polite follow-up after two weeks if you haven’t heard anything, and again after another month. Keep your messages short, respectful, and focused on helping them rather than pressuring them. Building relationships is just as important as getting placements.
How You Can Fix These Problems Right Now
Fortunately,
all of these issues are easy to solve. If you want to start landing sync placements consistently, the fastest way is to pitch your music directly to current, active supervisors and music libraries that are genuinely looking for new music in 2025.
That's exactly why I created The 2025 Music Licensing Directory. It’s fully updated and packed with verified contacts, submission details, and direct links
to real companies currently seeking indie artists like you.
You’ll save months of frustration and guesswork, and you’ll finally get your music in front of the people who can license it right now.
Right now, I'm offering The 2025 Music Licensing Directory at 65% off, this weekend only. It’s your best
chance to upgrade your strategy, stop guessing, and start licensing.
Here's your next step:
Get The 2025 Music Licensing Directory at
65% Off (This Weekend Only)
Or, as a reminder, you can GO PREMIUM and access all our products, courses and resources for one low price.
Learn more: https://www.htlympremium.com/pricing.html
It's time to fix these mistakes and start seeing your music placed exactly where it belongs.
