“What is the biggest misconception about sync licensing for indie artists?” Our August QOTM!
We asked our own sync specialist, Helen Gover, to dive into what sync licensing can really offer musicians.
Kelsy and Tori say:
Misconception: Sync licensing is an easy, reliable way for artists to make money.
While sync can be incredibly lucrative for the few who break through, the reality is that many talented, hard-working artists doing everything “right” don’t land placements for a very long time.....if ever. The process is painfully slow (caveat being when you get a bite, you have less than 24 hours to get them your music), there's more saturation now than ever, and the income is often unpredictable and therefore unstable as a primary source of income, especially when you are first starting out. If your only reason for getting into sync is for a steady income, that's probably not the best plan!
Another pitfall: chasing sync opportunities can sometimes pull you away from your authentic artistic voice. When you start creating only with briefs or trends in mind, it’s easy to dilute the very originality that makes your work stand out. Sync success often comes from striking the balance between commercial viability and genuine creative expression rather than abandoning one for the other. It's a business founded on a combination of luck, the strength of your music network, and the quality of your music.
There are ways, however, to ensure you position yourself in a favorable way, and if you'd like to work with our sync coordinator, Helen, please book your discovery call here.
Helen says:
Sync licensing is a game of networking, talent, and perseverance. While it may not lead to a steady and consistent source of income, landing one lucky song in a hit film, TV show, or other breakout audiovisual project can lead to a steady royalty. Integrating sync into your revenue streams as an artist is just another piece of the puzzle to be financially stable as an independent artist.
I agree with the caveat, and I would also discuss the reality in thinking about creating a “sync alter-ego” in which artists can create music just for sync outside of their authentic selves as artists. In other cases, artists can work to become a niche specializing in a specific genre or genres, and be a go-to composer for certain projects in order to feel they are not sacrificing their authenticity for profit.
The bottom line is that Music Supervisors can be people of habit. Once they find artists who have all their music metadata and paperwork in order, they are more likely to return to them for future projects.
Would you like help navigating the sync licensing world? Set up a discovery call with Helen here or become a Silver or Gold member to ask us a question through our monthly Q&A or 1:1 sessions!