Debunking the Biggest Myths About Sync Licensing for Independent Artists

If you’re an independent artist, chances are you’ve heard all sorts of things about sync licensing. Some of it is solid advice, but a lot of it? Not so much. Myths and misconceptions about the industry run rampant, and unfortunately, they can hold artists back from pursuing sync opportunities that could actually benefit their careers.

So, let’s set the record straight. Here are some of the biggest sync licensing myths—busted.

Myth #1: You Need to Make Music Specifically for Sync

One of the biggest misconceptions out there is that you need to write music for sync—meaning you should tailor your sound to fit some imaginary list of what music supervisors are looking for.

The reality is there’s no formula. Music supervisors and filmmakers are creatives in their own right with a keen ear for good music, no matter the style. They’re constantly searching for unique, authentic tracks—often ones that listeners haven’t heard before. Some of the biggest placements come from songs that were never intended for sync but happened to be the perfect fit for a scene. The best thing you can do is focus on making good music that resonates with people. If it connects with an audience, chances are it’ll connect with the right sync opportunity too.

Myth #2: Only Major-Label Artists Land Sync Deals

Yes, major artists get sync placements. But so do plenty of independent artists. In fact, music supervisors often prefer working with indie artists because their music is easier to clear (fewer legal hurdles) and is often more affordable than big-label releases.

If your music is well recorded, well produced and properly registered with a performing rights organisation (PRO), you’re already in the game. Independent artists land placements on TV shows, films, ads, and video games all the time. The key is having your music available, accessible, and ready to go when the opportunity arises.

Myth #3: If My Song Gets Placed Once, I’m Set for Life

A sync placement can be a great financial boost, but it’s not an instant ticket to retirement. A single placement might bring in a decent upfront fee (depending on the project), and generate some extra income but the real value is often in the exposure it brings.

Your music could be played in front of millions of new listeners, leading to more streams, more followers, and potentially even more sync opportunities. However, not all placements carry the same weight—deep-background uses don’t necessarily mean much in terms of exposure. But a featured use in a TV series or film? That can be a game-changer.

A sync placement will likely also place your song on platforms such as Tunefind, where fans frequently search for music from their favourite shows and movies. That kind of visibility can put your music in front of new audiences and even open doors to future placements.

Myth #4: I Should Wait for My Music to Gain Popularity Before Sync Opportunities Come My Way

Many artists believe they need to build a massive following before sync deals will happen. But actually, sync can be what helps your music gain traction. A single placement can introduce your song to a whole new audience, driving streams, playlist adds, and even Shazam searches.

Instead of waiting for a viral moment, be proactive. Get your music in front of the right people—whether through a sync agent, music libraries, or by pitching directly to supervisors. You never know which track will be the perfect fit for a scene.

Myth #5: Signing with a Publisher Will Get Me Sync Placements

A lot of artists assume that signing with a music publisher guarantees sync placements. The truth? Publishers focus on a broad range of revenue streams, and sync is just one of them.

When you sign with a publisher, they own your publishing rights for the length of your contract, which means you can’t have your music represented anywhere else. While they may pitch your music for sync, their main revenue comes from performance royalties, mechanical royalties, and other publishing income—not necessarily from landing your songs in TV shows or films.

The reach of your publisher also matters. A publisher registered in South Africa, including major publishers, will typically focus on local opportunities. While this can be beneficial for regional placements, it may not provide the same level of access to international sync opportunities. If your goal is global exposure, it’s worth considering partnerships with sync agents or licensing companies that operate across multiple territories.

One of the advantages of working with independent sync agents is that many operate on a non-exclusive basis. This means you can collaborate with multiple agents worldwide, ensuring your music has the broadest possible reach. Instead of being tied to a single company, you have the flexibility to work with professionals who specialise in different markets, increasing your chances of securing placements in a variety of projects, from local films to international ad campaigns.

Final Thoughts

Sync licensing isn’t some exclusive club where only the ultra-famous get a seat at the table. It’s a growing opportunity for independent artists, and a lot of the myths surrounding it do more harm than good. The best thing you can do? Focus on making music you love, get your business side in order (metadata, registrations, and accessibility matter!), and put yourself in a position where your music can be discovered.

Who knows? Your next big break might not be from a playlist—it might be from a TV show, a movie, or even a trailer that introduces your music to the world.