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◆ sync licensing

What sync actually is.
And what it actually pays.

A straight answer for rappers, songwriters, and composers who keep hearing "put your catalog in sync" but nobody ever explains what that means or how the money works. No hype, no jargon.

Bottom line: a sync licensing fee is what a music supervisor pays to place your song in timed relation to visual media — a film scene, a TV episode, a trailer, a video-game cutscene, a TV commercial, a branded social-media ad. It is not a songwriting contest. It is a rights transaction. You own the recording + the composition, they pay to use them, you get the check.

◆ What sync placements actually pay

Real ranges, not hype. A single placement can range from $500 to $100,000+, with most independent deals living in the $1,500–$15,000 band.
$500–$2K

YouTube / Podcast / Indie

Indie podcasts, YouTube originals, low-budget indie films, student-project placements. Lowest end — volume matters.

$2K–$15K

Cable TV / Streaming

Network cable episodes, streaming series needle-drops, mid-market regional ads. The workhorse tier where most catalogs live.

$15K–$50K

National Ad / Trailer

National TV ad flights, film-marketing trailers, AAA-game title cues. Real money — requires a real rights-clean catalog.

$50K–$250K+

Film Needle-Drop / Global

Feature-film scene syncs, global brand campaigns, episodic main-title themes. Possible but competitive — one placement can pay a year.

◆ Four assumptions every artist is making

When someone says "I want to make money doing syncs with my catalog," they're assuming all four of these are true. If one breaks, the deal dies in legal review.
1

Your music is sync-worthy

It has emotional arc, memorable hooks, or instrumental value that a supervisor can drop under visuals. Pure bangers without space for dialogue often fail sync tests.

2

You own or control the rights

Both the master recording (the audio file) and the composition/publishing (the songwriting). If a feature is uncleared, the deal is dead.

3

You're registered with a PRO

ASCAP, BMI, SESAC, SGAE, SACEM, JASRAC, KOMCA — so backend royalties actually reach you. Without this, the upfront fee is all you'll ever see.

4

You have industry connections

Supervisors, sync agents, or a platform with a real pipeline to them. This is the assumption that breaks most catalog-owners — they have the songs but not the door.

◆ The honest counterpoints

Why sync feels "futile" to most artists — we won't sugarcoat it.

⚠ The old sync model is rigged toward insiders

✦ The reframe

Your catalog isn't just songs — it's a digital IP asset class. Sync is one derivative revenue stream. The goal isn't to win the old sync game; it's to own a pipeline that routes the same catalog into syncs, jingles, voice-flip opportunities, and brand matches simultaneously, without paying a 50% middleman to any of them.

◆ How RennyJ's Sound Pitch changes the math

We're new. They have the catalog. We have the math. Four architectural advantages the legacy sync libraries can't retrofit without rebuilding from scratch.
90–100%
Artist keeps

Every sync fee. The field takes 20–50% off the top. Marmoset 50%. Musicbed 40–50%. Songtradr 20–40%. Music Gateway 20–50%. You do the math.

Dual
Rights at intake

Master + publishing, captured before a supervisor ever opens the file. Legacy libraries find out in legal review that the co-writer never cleared it. Our files arrive clearance-ready.

10
Languages + RTL

Every incumbent is English-only. Your Latin, K-pop, Bollywood, and MENA catalogs have nowhere else to go.

4×
Akademia on the ears

RennyJ is named, verifiable, awarded. Legacy libraries hide their curators behind "our team." See the record.

Dimension
Legacy sync route
RennyJ's Sound Pitch
Rights clearance
One vague "I own this" checkbox. Deal dies later in legal review.
Dual attestation at intake — master AND publishing, plus ISRC, instrumental-available flag, and similar-to reference track. Supervisor gets a clearance-ready file.
Who hears it
Black-box "our team forwards it." You never know who opened it.
Named buyer-type opportunities — Music Supervisor, Trailer House, Game Studio, Ad Agency — with the brief attached. You know exactly what you're pitching.
Discovery
You pitch, you wait. Static catalog sits unseen.
Local AI embeds every paid submission. When a brand posts a brief, the matcher returns your track in seconds if the vibe fits — the pipeline works in reverse.
Ear behind it
Anonymous curator. No accountability.
RennyJ — four-time Akademia laureate, 45+ years on bass, Parliament/Donna Summer/Toni Braxton/Alicia Keys credits. Full record here.
Cut to middlemen
30–50% to sync libraries + publishers. Exclusive deals lock you out of other options.
Transparent per-opportunity fee upfront. No exclusivity lock-in. Payouts flow through CR Burrell LLC via Stripe.
Onboarding
Pay to pitch, minimum $25–$50 per shot, no proof of traction.
First 30 clients pay nothing. You prove your catalog works on the platform before the platform takes a dollar.
Global reach
English-only submission portal.
10 languages + RTL. Your catalog surfaces to supervisors in LA, Mexico City, Tokyo, Seoul, Berlin, Mumbai, and Dubai simultaneously.

◆ Live sync opportunities on the platform right now

Real fees, real buyer types, real deadlines. Click any to submit.
Game Studio $200

AAA Game Soundtrack Cue

In-game cues for a forthcoming AAA title. Stems + instrumental required.

Orchestral/Synthwave · deadline 2026-09-01
Trailer House $175

Trailer House Epic Bed

Trailer beds for AAA film marketing — 60s rising-action cue with stems required.

Cinematic/Epic · deadline 2026-08-01
Ad Agency $150

National Ad Sync — DTC Brand

Licensed placement in a national DTC ad flight (TV + CTV). 100% clearance mandatory.

Upbeat/Inspirational · deadline 2026-07-01
Music Supervisor $125

Streaming Series Needle-Drop

Needle-drop slots for a premium-cable episodic series.

Indie/Alt/Hip-Hop · deadline 2026-06-30
Music Supervisor $95

Indie Film Sync Placement

Sync placement in a Sundance-circuit indie feature. Must have master + pub cleared.

Any · deadline 2026-07-15
Music Supervisor $80

Cable TV Episode Background

Background music placements in network cable episodes.

Any · deadline rolling

◆ The sync prep checklist

What to have ready before you click submit. Fail any one of these and the supervisor walks.
  1. Master mix (required) The final stereo audio — what you'd stream on Spotify. Submit in WAV or high-bitrate MP3.
  2. Instrumental version (strongly recommended) The same track with vocals removed. Sync supervisors need this to drop under dialogue. No instrumental = half your placements die on the spot.
  3. ISRC code (if registered) Your 12-character recording identifier. Register masters through DistroKid, CD Baby, or your distributor before pitching.
  4. PRO affiliation ASCAP / BMI / SESAC / region-equivalent. This is how backend royalties find you.
  5. Rights clearance — both sides 100% of the master AND 100% of the publishing. Co-writers listed. If anyone else has a share, resolve it before you submit.
  6. Mood tags "Cinematic, rising, tense" or "uplifting, warm, nostalgic." How supervisors actually search.
  7. Similar-to reference "Billie Eilish — Ocean Eyes" or "Hans Zimmer — Interstellar." Helps supervisors place your vibe in seconds.
  8. Stems (for trailer-house and game cues) Drum, bass, vocal, synth, FX. Optional for TV sync, but unlocks the highest-paying trailer and game tiers.

Stop pitching. Start placing.

Launch-30 is still live — first 30 clients pay nothing. If your catalog is rights-clean and sync-worthy, there's no reason to sit on it another week.

Submit for sync → Browse live opportunities See RennyJ's ear I'm a brand / supervisor