I’ve been studying sync placements for a while now, and it’s fascinating to explore the production side and structural elements of tracks specifically created for film, TV, and advertising. As I mentioned in my previous blog post, I like to compare the production process to baking a delicious cake. If you change the recipe and don’t follow the “rules,” adding ingredients however you please, you risk ruining the final product. But stick to the recipe, and you’ll end up with something truly enjoyable—something others will appreciate too.
Now that I have a solid understanding of production and structure, I’ve started pitching my tracks to sync music libraries. But before I go into detail, let me say this: it feels like the same old story as the streaming industry. Whether we like it or not, creatives—songwriters, composers, producers, and vocalists—often come out on the losing end, exploited by a clever and deeply flawed system.
It’s no different from what’s happened in the publishing world. Writers spend months, even years, pouring their hearts into books, only to give them away for free on platforms like Amazon Kindle. I’ll never understand why people sell themselves short. Nothing good should be free. People are willing to pay for poison—cigarettes, alcohol, fast food—yet hesitate to pay for music and literature created with true dedication and soul. Why is that?
Anyway, enough of that. It is what it is. I can’t single-handedly change a broken system that seems to be deteriorating further each day. And let’s be honest, the rise of AI isn’t exactly helping matters.
Back to my cake analogy. In recent weeks, I’ve started receiving responses from exclusive sync libraries, and I’d like to share some of their feedback—and get your perspective. What would you do if you were in my shoes?
For context: I’ve been releasing music independently as a lyricist for the past three years. I now have 15 professionally produced and recorded tracks spanning Pop, R&B, and Rap. My featured artist, Thir13een, is an incredibly talented and uniquely gifted vocalist—there’s no doubt about that.
Here’s one response I received from a British exclusive library: “We only work on an exclusive basis. That means tracks are signed exclusively and in perpetuity, with income split 50/50 across the board (no upfront advances or fees).”
I also had an email communication with a US Exclusive library that works as a pre-cleared “one-stop” sync licensing boutique library. To my surprise, they not only want the artist to give away their full rights, but also offer no upfront payment.
While the standard revenue split in non-exclusive sync libraries is typically 50/50 %, there are some libraries (I won’t name names) that actually take a shocking 75% of the sync license fee—leaving the artist with just 25%. Honestly, why would any self-respecting artist in their right mind agree to such terms? I genuinely don’t have an answer.
Why should anyone spend their hard-earned money and countless hours crafting a “delicious cake,” only to give it away for free in the vague hope of maybe—possibly—receiving a few crumbs somewhere down the line, with no idea when or how often that might happen? Again, I don’t have an answer.
That said, I’ve been weighing my options carefully and have put together a list of pros and cons when it comes to signing with exclusive versus non-exclusive libraries. I'm still figuring out which direction makes the most sense for me, but in the meantime, I’ll continue pitching my music to exclusive libraries that still respect artists—and don’t treat them like naive, clueless amateurs.
Exclusive Sync Libraries PRO & CONS
Pros
- Higher
sync fees & premium placements
Major libraries offer exclusive tracks and often land big-budget placements like blockbuster trailers or network TV leading to significantly higher upfront fees and royalties - Publisher
confidence & priority
Being exclusive signals commitment. Music supervisors see your music as unique and harder to source elsewhere, which boosts placement chances - Shared
sync and performance income
Some exclusive deals include a share of sync fees, not just performance royalties
Cons
- Restricted
freedom
Tracks can’t be licensed elsewhere, and rights may be tied up for extended or indefinite terms - No
guarantee of use
You depend on the library’s promotional efforts, your music could sit unused if not prioritized - Higher
quality bar
Expectations for production value are high, and competition is stiff - You
have to give away your full publishing and master rights
- You can’t
promote and release your music anywhere
Non‑Exclusive Sync Libraries
Pros
- Maximum
flexibility
Keep the freedom to pitch tracks to multiple libraries or pursue deals directly—ideal for diversifying opportunities - Quick
and easy uploads
Many non‑exclusive libraries have low entry barriers, great for new composers to start building sync revenue - Retain
rights & royalties
You usually keep full publishing and master rights, earning both sync and performance royalties - You can
promote and release your music anywhere
Cons
- Lower
fees & placements
High-end opportunities are rare; they don’t negotiate big budgets the way exclusive labels do - Metadata
confusion & admin issues
Libraries often retitle tracks, leading to royalty attribution errors and disputes - Catalog
saturation
With thousands of tracks uploaded daily, your music may struggle to stand out