Sync Licensing Agents Directory: 15 Agencies Indie Artists Should Know
Sync licensing is one of the few reliable income streams left for indie artists — but most placements still flow through a small group of agencies and supervisors. This is a working directory of the sync agents, agencies and platforms worth knowing in 2026, plus a realistic playbook for approaching them. Before you approach anyone, register your works with a performing rights organisation such as PRS for Music or ASCAP, then use our guide to submitting music for sync to prepare the pitch.
What is a sync licensing agent?
A sync agent (sometimes called a sync rep, sync licensor, or music licensing agency) represents your catalogue to people who license music: brand teams, ad agencies, music supervisors for TV and film, trailer houses, game studios and streaming originals. They pitch tracks against briefs, negotiate fees, handle clearance paperwork, and take a commission — typically 25-50% — on every placement.
Most established agents are invite-only. They look for artists with a defined sonic identity, fully-owned masters and publishing, and a small but high-quality catalogue. You don't need a deal to earn from sync — many artists start with non-exclusive platforms and add an agent later for premium ad and TV work.
The directory
These are reputable agencies and platforms working in sync today, grouped roughly by region. Inclusion is editorial — not a paid placement — and based on track record, roster quality and how active they are with indie artists.
The table below is the quick answer: who takes open submissions, what they typically take as commission, and the kind of artist each one actually signs. Full notes on every agency follow underneath.
| Agency | Based | Submissions | Commission | Best fit |
|---|---|---|---|---|
| Position Music | Los Angeles, USA | Invite only | Negotiated per deal | Trailer and TV editors already know the roster, so a placement carries weight elsewhere. |
| Pusher (Songfluencer) | Nashville / Los Angeles | Pitch via roster contacts | Campaign fee based | Short-form hooks with a clear 15-second moment. |
| Terrorbird Media | Brooklyn, USA | Invite only | Typically 30-50% | Labels and artists with a defined left-of-centre identity. |
| Heavy Hitters Music | Los Angeles, USA | Invite only | Typically 30-50% | Ad-agency briefs needing hip-hop, pop and alternative at speed. |
| Secret Road Music Services | Los Angeles, USA | Closed roster | Typically 30-50% | Emotive indie, folk and singer-songwriter cues for TV drama. |
| Marmoset | Portland, USA | Open submissions | Revenue share, varies | Artists happy to also take custom-composition briefs. |
| Lip Sync Music | Los Angeles, USA | Invite only | Typically 30-50% | Indie and electronic acts with a strong sonic signature. |
| Zync Music | New York, USA | Label-led | Negotiated per deal | Artists already signed to an indie label with catalogue reach. |
| Sentric Music | Liverpool, UK | Open submissions | Publishing split, varies | UK and European artists who also need publishing administration. |
| Big Sync Music | London, UK | Label-led | Negotiated per deal | Established acts aiming at UK and European ad campaigns. |
| Cavendish Music | London, UK | Open submissions | Production-music terms | Instrumental composers and producers writing to brief. |
| Music Gateway | UK / global | Open, membership | Membership fee plus commission | Unsigned artists who want to see live briefs while building proof. |
| Musicbed | Fort Worth, USA | Open submissions | Exclusive revenue share | Cinematic and indie artists willing to commit catalogue exclusively. |
| Artlist | Tel Aviv / global | Open submissions | Exclusive revenue share | Artists prioritising volume and exposure over per-placement fees. |
| Melody | London / global | Open submissions | Artists keep 75% | Artists who want non-exclusive placements and payment per licence. |
Who actually accepts open submissions?
Seven of the fifteen take unsolicited music: Marmoset, Sentric Music, Cavendish Music, Music Gateway, Musicbed, Artlist and Melody. The rest work through label relationships or personal introductions, which is why a first placement almost always comes from an open route rather than a cold email to a closed agency.
The trade-off is exclusivity. Musicbed and Artlist expect you to commit catalogue to them; Sentric takes a publishing share; Music Gateway charges a membership fee. Melody and Marmoset are the two that let you keep placing the same tracks elsewhere while you pitch closed agencies in parallel. If you are still deciding which route fits, our guide to getting a sync licence walks through the terms each model uses.
Agency profiles
Position Music
Los Angeles, USATrailers, TV, film, ads
One of the most prolific sync agencies in trailers and TV. Strong in cinematic, hybrid orchestral and indie pop. Submissions are invite-only via their roster managers.
- Submissions:
- Invite only
- Commission:
- Negotiated per deal
- Best fit:
- Trailer and TV editors already know the roster, so a placement carries weight elsewhere.
Pusher (Songfluencer)
Nashville / Los AngelesTikTok influencer placements, brand campaigns
Bridges sync and creator marketing. Best for catchy hooks aimed at short-form video. Works with majors and indies on activation campaigns.
- Submissions:
- Pitch via roster contacts
- Commission:
- Campaign fee based
- Best fit:
- Short-form hooks with a clear 15-second moment.
Terrorbird Media
Brooklyn, USAIndie film, TV, advertising
Boutique agency representing well-regarded indie labels and artists. Tasteful, curated roster — strong for left-of-centre indie, electronic and folk.
- Submissions:
- Invite only
- Commission:
- Typically 30-50%
- Best fit:
- Labels and artists with a defined left-of-centre identity.
Heavy Hitters Music
Los Angeles, USAAdvertising, trailers, TV
Long-established sync house with a deep ad-agency network. Roster spans hip-hop, pop, alternative and instrumentals.
- Submissions:
- Invite only
- Commission:
- Typically 30-50%
- Best fit:
- Ad-agency briefs needing hip-hop, pop and alternative at speed.
Secret Road Music Services
Los Angeles, USATV, film, ads, trailers
Known for emotive indie, folk and singer-songwriter placements (Grey's Anatomy, Apple, Google). Closed-roster representation.
- Submissions:
- Closed roster
- Commission:
- Typically 30-50%
- Best fit:
- Emotive indie, folk and singer-songwriter cues for TV drama.
Marmoset
Portland, USACustom music + sync library for ads, film, TV
Hybrid library / agency model. Curated artist roster with a strong identity. Submissions accepted via their site — quality bar is high.
- Submissions:
- Open submissions
- Commission:
- Revenue share, varies
- Best fit:
- Artists happy to also take custom-composition briefs.
Lip Sync Music
Los Angeles, USAAdvertising, TV, film
Independent agency repping a focused roster of indie and electronic artists. Good fit for artists with a clear sonic identity.
- Submissions:
- Invite only
- Commission:
- Typically 30-50%
- Best fit:
- Indie and electronic acts with a strong sonic signature.
Zync Music
New York, USAAds, TV, film
Owned by Round Hill. Large catalogue from indie labels including Sub Pop, Secretly Group and Beggars. Mostly works through label partnerships.
- Submissions:
- Label-led
- Commission:
- Negotiated per deal
- Best fit:
- Artists already signed to an indie label with catalogue reach.
Sentric Music
Liverpool, UKGlobal publishing + sync
Publisher with an active sync team. Open submissions via their artist portal. Good entry point for UK and European indie artists.
- Submissions:
- Open submissions
- Commission:
- Publishing split, varies
- Best fit:
- UK and European artists who also need publishing administration.
Big Sync Music
London, UKTV, film, advertising
Part of BMG. Major-league agency with a strong UK and European ad client base. Roster is selective and label-led.
- Submissions:
- Label-led
- Commission:
- Negotiated per deal
- Best fit:
- Established acts aiming at UK and European ad campaigns.
Cavendish Music
London, UKProduction music + bespoke sync
Long-running production music house owned by BDi Music. Good route for instrumental composers and producers.
- Submissions:
- Open submissions
- Commission:
- Production-music terms
- Best fit:
- Instrumental composers and producers writing to brief.
Music Gateway
UK / globalSync opportunities, pitching, distribution
Membership-based platform with active sync briefs. More accessible for unsigned artists than traditional agencies — quality of briefs varies.
- Submissions:
- Open, membership
- Commission:
- Membership fee plus commission
- Best fit:
- Unsigned artists who want to see live briefs while building proof.
Musicbed
Fort Worth, USAFilmmaker and brand licensing
Curated catalogue popular with creators and agencies. Exclusive deals — artists must be willing to commit catalogue. Strong cinematic and indie roster.
- Submissions:
- Open submissions
- Commission:
- Exclusive revenue share
- Best fit:
- Cinematic and indie artists willing to commit catalogue exclusively.
Artlist
Tel Aviv / globalSubscription licensing for creators
Subscription model rather than per-placement fees. Useful for volume and exposure, less so for premium ad budgets. Exclusive contracts.
- Submissions:
- Open submissions
- Commission:
- Exclusive revenue share
- Best fit:
- Artists prioritising volume and exposure over per-placement fees.
Melody
London / globalPre-cleared indie music for brand and UGC ads
Non-exclusive, pre-cleared licensing from $5. Artists keep 75% and get paid per placement. Built for the speed of modern brand and creator workflows.
- Submissions:
- Open submissions
- Commission:
- Artists keep 75%
- Best fit:
- Artists who want non-exclusive placements and payment per licence.
How to approach a sync agent
Cold-emailing a generic "please listen to my music" pitch almost never works. What does:
- Lead with proof. Mention any existing placements, brand work, or syncs — even small ones from platforms like Melody, Musicbed or Artlist.
- Pitch 3-5 tracks, not your discography. Pick your most sync-ready masters: clean mixes, clear emotional tone, instrumental versions available.
- Confirm rights upfront. State that you own 100% of masters and publishing, or list the splits clearly. Unclear rights are the fastest way to get ignored.
- Reference their roster. Explain why your music fits alongside two or three of their existing artists.
- Be patient. Most agencies take weeks or months to respond. Follow up once, then move on.
Exclusive vs non-exclusive deals
Most traditional sync agencies want exclusive representation of a track or your full catalogue. That means no other agent — or platform — can license the same music. In exchange, they pitch you for higher-budget placements and handle negotiation.
Non-exclusive platforms like Melody work differently: you list tracks, brands and creators license them on standardised terms, and you keep 75% with no waiting period. There's no conflict with running both — keep premium ad and TV opportunities with an exclusive agent, and let smaller, faster placements flow through a non-exclusive platform.
Realistic expectations
Sync is a long game. A typical indie artist signed to a mid-tier agency might land 1-5 placements a year in the first 12-18 months, with fees ranging from a few hundred dollars for small digital ads to five figures for national TV spots. Volume-based platforms can deliver more frequent, smaller placements while you build a relationship with an agent.
Want placements while you wait on agents?
Melody is non-exclusive, pre-cleared and pays out per placement. Submit your sync-ready tracks and start earning from brand and creator licences today.
Submit Your Music
About the Author
Samuel Olsson is the Head of Growth at Melody and the Managing Director of Kurve, an award-winning growth marketing agency. With over a decade of experience building scalable growth engines for tech companies, Samuel is now focused on solving the biggest problem in music: connecting the 90% of unheard artists with the brands that need their sound.
View full profile →Related Reading
How to Get Your Music in Ads
A step-by-step guide to landing sync placements with brands and creators.
The Sync License Checklist
Prepare your tracks so they're ready for serious sync opportunities.
Sync Licensing vs Playlist Pitching
Which path actually pays for indie artists in 2026?
How to Make Money from Music
Diversified revenue streams beyond streaming for indie artists.