Sync Work Details For Prospective Artists

last updated: Oct 2024

We believe in full transparency for artists we invite to our library, so we decided to create a more detailed page explaining the work we do and the progress we've made!

We strive to be artist-friendly, we're non-exclusive (meaning you are free to work with other sync agents/agencies, and you maintain the right to license your music directly if you find opportunities elsewhere), and you are free to leave if you change your mind, simply by letting us know -- even so, we understand that granting any control or decision-making rights to your music is a serious decision, and you want to understand who you're working with and what they're up to!

Disclaimers

• We are only in our second year as a company, and we're still largely in the networking stage. We've made a lot of progress, but getting truly established in this industry can take years.
• We are essentially a three-person team (and one of us is a cat). Although we are fully committed to sync, we're also human, and it isn't a full time job (yet!).
• We can't guarantee any placements for your music (neither can any other sync company, no matter their size or track record) -- all we can do is believe in your music & get it in front of as many decision-makers as possible.
• If you're serious about sync, we have no issue with you doing your own outreach, though we do encourage you to run it by us first to make sure we're not stepping on each others' toes. :)

Placements

• "Imaginary Friends" by Mia Stegner was licensed for use as the theme song in a proof-of-concept for a prospective TV show
• Four of our songs ("That's Just How it Goes" by Jimmy Montague, "Blue Eyes," by Marin Ishida, "Once Upon a Time" by Ruby Pine, and "How to Breathe" by lilac frog) were used in montages for a landscaping company’s video portfolio.
• We’ve also made custom music for a handful of clients including Calm, Temptations, and Plant Nanny. If you're interested in being available to create custom music, let us know & we'll make a note so our clients are aware!

Close-Calls

Even though there's tons of new media projects looking for music every day, there's even more music; placements are very subjective and often described as winning the lottery. We’re still looking forward to landing our first large-scale placement; that said, we've come close a handful of times! Close-calls can be disappointing, but we try our best to view them as successes.

• We've been shortlisted for a few projects through partner agencies, including for a confidential Netflix TV show, an Australian documentary series, and a Coming of Age TV drama trailer.
• "Blue," by Marin Ishida was pre-approved & shortlisted for a yoghurt advertisement
• "Entheogen" & "How to Breathe" by lilac frog were pre-approved & shortlisted for a Japanese TV Commercial
• Several of our artists' songs have been saved or downloaded by music supervisors we've reached out to.

Other Successes

• Two of our artists’ songs ("Always You" by Jimmy Montague & "Meant to Be" by Jandry Palms) have been featured in Disco’s internal Discovery Highlights, which are essentially monthly playlists of recommended tracks curated by the platform and sent directly to Music Supervisors who use Disco for music management.
• Our music is now discoverable through WeGet Artists, with 18 of our tracks receiving an “Exceptional” rating from their crew, making them appear higher in searches for the music supervisors that work with them. ("Burn Up The Night" & "Wild" by ZEE; "Nothing is Required," "From Your Room," & "Crave" by Mia Stegner; "Raven," by Ranae; "Yellow Paint" & "Master Plan" by James Barrett; "Not What You Pictured" by Christian Inman feat. Kai Warrior; "Who I Am" by Daniel Cruz; "mentality" by River; "Morning" by Emma Jayne, "Blue Eyes," by Marin Ishida; "Is It," "Crawling," & "It Gets Better" by Tori Thomas)
• As of October 24, 2024, 101 of our tracks have been forwarded via WeGetArtists / MusicSupervisor.com. ("When our crew, a director or music supervisor is seriously considering your song for a film & tv placement and decides to "forward" it to his executive producer, director and/or post production crew, this stat increases by +1. This number is by far the most important one and when it increases, it means you have fantastic music and that your music was heard by the right people.")
• 9 music supervisors have requested & been granted ongoing access to our Disco library, meaning they can include us in their searches when looking for music; about 30 have opted into our email list.

Resources

In addition to managing our library with Disco, we’ve invested in a few platforms / memberships for networking and pitching, including TheSyncReport (directory of music supervisors and advertising agency contacts who license indie music); Tracks & Fields (a pitching platform); MusicSupervisor.com (a pro account for direct pitching). We are also in an invite-only Facebook group of sync professionals.

Responding to Briefs

• We receive a few direct briefs from music supervisors or other sync companies each month, and always respond to them ASAP.
• We regularly check platforms including Tracks & Fields, MusicSupervisor.com, Songtradr, an invite-only Slack channel for music supervisors and sync professionals, and a handful of individual music supervisors' websites for listings we can submit music to.

Networking & Partnerships

• We have been (and will continue) actively networking with music supervisors, indie filmmakers, and other sync libraries to form partnerships and increase the number of direct briefs we receive.
• We keep tabs on entertainment news such as movie announcements and show renewals or cancelations, so that we can reach out and introduce ourselves to music supervisors at relevant times or when they're most likely to be looking for new music.
• We also work with other sync companies and music libraries, exchanging briefs and opportunities when they don't have a match in their library, or vice versa. These include Hook Line & Sync, WeGet Music, Unicorn Sync, Create Advertising, and more.