Most producers are writing the wrong thing for sync.

Sync isn't songwriting with a different buyer attached. It's writing for pictures, and pictures have requirements; a record doesn't. A music supervisor needs a track that can start anywhere, build on cue, drop out under dialogue, and land on a hard edit at 0:29. They need it clean. They need stems. They need it today.

That's a craft, and it's a different one. The producers who learn it tend to earn from it for years, because a placement doesn't stop paying when the campaign ends.

Why are we building a sync catalogue?

Streaming pays fractions of a cent. A regional ad campaign can pay four figures up front and keep paying in performance royalties every time it airs. One trailer placement can outearn a year of playlisting.

The catch is that you can't chase sync one track at a time. Supervisors work to deadlines measured in days. If the right cue doesn't already exist when the brief lands, the brief goes to someone whose catalogue does have it. Sync rewards having a deep, well-organized, properly registered catalogue sitting ready, which is exactly the thing independent producers are least set up to build alone.

So we're building it with them.

What we're actually asking for

We're adding producers to the roster to write original, broadcast-ready music targeted at commercials, television, film, and trailers. Not remixes of your existing catalogue's new material, written for the brief.

The work:

• Original music across multiple genres, written to current sync trends and to specific creative briefs
• Fast turnarounds on edits and revisions when a supervisor comes back
• Fully mixed and mastered deliverables, plus alternate mixes, instrumentals, clean versions, cutdowns, and organized stems for every track
• Consistent new material, so the pitch catalogue keeps growing

That deliverables line is the one people underestimate. A track without stems and alternates is a track a supervisor can't use under a deadline, however good it is.

What we're looking for:

• A real track record in production, beatmaking, or composition, with finished work to show
• Expert-level command of a professional DAW (Pro Tools, Cubase, Logic, Ableton, FL) and the mixing and mastering chops to deliver broadcast-ready audio
• An understanding of what sync actually needs: dynamic builds, clean edit points, clear emotional arcs, frequencies that don't fight dialogue
• The discipline to run several projects at once and hit dates without being chased
• Your own professional setup

What you get from doing it with us

Your publishing is properly administered. Your catalogue is represented by Music Label Group and administered globally by Universal Music Publishing Group, so your compositions are registered, tracked, and collected across territories. Most independent producers lose real money here not to anyone taking it, just to registrations never being filed.

Your music gets pitched. Directly to supervisors, studios, and brand agencies we already work with. A catalogue nobody pitches is a hard drive.

You can see the money. Clear royalty reporting and split-sheet automation, so you know what's earned and who's owed what without chasing a statement.

You get direction. Feedback from our sync team on what's landing and what briefs are coming, so you're writing toward real demand instead of guessing.

This is a contract, a royalty-based arrangement; you keep working how you work. We handle the publishing, the registration, the pitching, and the accounting.

If that sounds like your kind of work

The role is open now, and it's remote, wherever you are.

Read the full brief and apply. →

Bring finished tracks. We'd rather hear three cues that show range and craft than a thirty-track dump, and if you have anything that's already been placed, lead with it.