How to Get Your Music in Films and TV
Getting your music into a film or television show can be a game-changer. It’s not just about exposure or a paycheck—it’s about long-term visibility and credibility in an industry that thrives on sound. But placements don’t happen by chance. They happen when your music is in the right place, with the right prep, and reaches the right people. Here’s how to get started.
First, your music needs to be ready for sync. That means delivering high-quality files—usually WAV or AIFF—and having both the full track and an instrumental version available. You should also organize your metadata properly. Every track should include your full name, email address, track title, genre, mood, and any keywords that describe the sound or emotion—think “uplifting,” “dark cinematic,” or “slow burn.” Without this, even great tracks often get overlooked. Don’t forget: all your rights should be cleared. If you worked with a co-writer, producer, or featured artist, have written agreements in place outlining ownership and licensing terms. Supervisors won't risk legal grey areas, no matter how good the track is.
Next, research the types of productions your music is best suited for. Are you aiming for emotional drama scenes, lighthearted comedies, action-packed trailers, or documentary backgrounds? Watch those types of shows and movies. Pay attention to the music they use—tempo, instrumentation, mood, and genre. Then take note of who’s selecting those tracks. Music supervisors are often listed in the end credits. Build a shortlist and learn what kinds of sounds they gravitate toward.
When reaching out, professionalism is key. Your email should be short and respectful—introduce yourself in a few lines, link to 1–3 curated tracks, and explain why they could be a good fit for the type of work the supervisor does. Always use a streaming link (like Disco or a private SoundCloud), not a download. And make sure your tracks are clearly labeled. You can include a one-sheet or brief bio if needed, but the music should always be the focus. Don’t follow up excessively, but staying on someone’s radar with the occasional update or new release is completely acceptable.
It’s also worth looking into music libraries and sync agencies. These are companies that specialize in placing music in film and TV, and many of them accept submissions. They usually take a cut of any licensing fee but can save you time by pitching on your behalf and handling licensing paperwork. Just be sure to read the terms before signing on—some libraries require exclusive rights, while others work non-exclusively.
Finally, think about discoverability. Many supervisors now use platforms that allow them to search for music based on mood, pacing, or scene description. Being part of a well-organized, searchable library can put your music in front of decision-makers without you needing to send a single pitch.
That’s where platforms like SyncIt come in. SyncIt is built to connect music creators with people in film and TV who are actively searching for tracks—without needing to know your name or your genre. A director might type in “bittersweet piano for rainy montage,” and if that’s what you’ve made, your track can rise to the top. The process still starts with your music—but it helps when the right people can actually find it.
