Maori Music Publishing

Synchronisation Services




We no longer accept submissions tied to specific Sync Opportunities as, to be honest, very few clients could meet the extremely tight time-schedules that most program makers placed on them - by the time tracks were submitted the "opportunities" no longer existed.
Make no mistake though - whilst many other companies still promote such so-called "opportunities" to draw you in, this same issue applies to them!

Having said that, we do offer our GOLD Sync Promo Level option to clients who have music on current release through outlets such as iTunes, Apple Music, Spotify, Amazon etc., that we target towards "briefs" we receive from major outlets such as Netflix, BBC Productions, Disney Channel, Dreamworks Pictures, SONY Pictures and Universal.
You can be sure we won't be the only company pushing for those placements, so there are never any guarantees, but at least you know we're trying our best!
(More details on the website Sync Promo submission form/s.)

Alternatively, you might wish to consider the following information about the actual opportunities that our regular STANDARD Sync Promo Level through Maori Music can give you:-


Whilst strictly speaking, sync licensing, or "synchronisation" is the use of music in visual media such as TV, Film, Advertisements, Trailers or Video Games etc., and it describes the "synched" pairing of audio and visuals.however, we also extend this to inclusion on distributed Compilation Albums (Themed Or Otherwise) and Solo Albums.
In a narrower sense the sync license specifies the negotiated terms of that usage - placement, permissions, payments, etc., forming an agreement between the owner of the visual or other media and the owner(s) of the music (or, in most cases, the music publisher representing the copyright owner(s).
Sync licensing describes the whole process of finding sync opportunities, pitching songs, negotiating terms and getting paid.

How do you make money with sync licensing?

Musicians can earn royalties from sync licensing in a few ways.
It's important to know that two different music copyrights are involved in every sync placement.

The producer, film studio, TV network or other content creator has to pay to license both the master recording rights and the composition rights before they can use the music.

A Master Use License is negotiated for the usage of a particular sound recording (also known as a "master").
The related fee is often paid upfront to the artist or label who owns that studio track or live recording.
A Sync License for the Composition is negotiated for the usage of the underlying song (melody and lyrics).

The related fee is often paid upfront to the music publisher, publishing administrator, or songwriter.
By authorising Maori Music to represent you for Sync Promo then we can approve both usages at the same time and so collect both upfront sync fees.

Also, as we only arrange non-exclusive arrangements for clients, you can license the same song for multiple uses through different Sync companies, provided there is n requirement to assign copyright which would, of course, cause there to be a conflict of interests.

Some sync placements also generate residual royalties.

Songwriters, composers and music producers who create original songs and lyrics can also earn publishing royalties for sync placements.
This comes in the form of performance / mechanical royalties generated each time a TV show airs again or gets moved to a secondary market for erxample.

Sync placements drive awareness.

Whilst the end-user of your songs is not concerned over which Band / Act performed it, a small percentage of viewers that hear your song in a film or TV show may use "Shazam ©" to identify a track, which is why a big sync placement can also help you achieve other objectives such as growing your YouTube subscribers, driving album sales, boosting Spotify followers, etc.

How much does a sync placement pay?

Sync licensing can be lucrative, but it's difficult to estimate what any one placement is worth because there isn't an industry "standard" sync fee.
Instead, there are a number of factors that determine how much you earn from a particular placement.

These include:

  • The type of visual media, from a video on social media to a blockbuster film
  • The duration of the usage, from one-time use to "in perpetuity"
  • The budget of the production, from zero to millions
  • The region of use, from a local station to Worldwide
  • The demand for the song and popularity of the artist
  • The length of the audio segment being used
  • The nature of the usage, from quick background music to opening credits

What is a music supervisor?

Music Supervisors oversee the usage of music in visual media.
They have to be proficient on the legal side of things and have a passion for music.
Music Supervisors could be employed by a network, film studio, production company or even do freelance work - but ultimately, their job is to:

  • Find the right music for the production
  • Secure the rights
  • Gather required information for credits and royalty reporting
They have to do all this quickly, within the given budget and in service to the producer or director's vision.
It can be a fast-paced, high-pressure job, which is one reason why pre-cleared tracks by indie artists can be so attractive to Music Supervisors.

What is a pre-cleared track?

When Maori Music works with a sync licensing agency or adds your music to a sync catalogue, we are often asked to "pre-clear" the permissions.
This means we're granting that agency / catalogue the right to negotiate a sync deal on your behalf.
All parties involved can streamline the negotiations because sound recording and composition rights are bundled and granted in advance.

Our sync licensing service works like that, as speed is the key to almost every sync placement.
Productions move fast, and there's an almost unlimited supply of music out there - so a track's status as "pre-cleared" can mean the difference between getting placed or not.

What kind of music is good for Sync licensing?

There's a place for every kind of music in sync licensing.
"Is this song right for the scene, advert or project?"
That's all that matters!

Let's dispel some Sync licensing myths!

"The Band / Act is no longer together."
Absolutely irrelevant!
It's the song that matters when obtaining a Sync placement, not what Band / Act has performed it or whether they're still together or not.

"We haven't any new songs recorded."
While many music supervisors pride themselves on having great taste and setting trends, ultimately their job is about choosing the right songs, not the newest ones.
That means your whole catalog should be available for sync licensing.
Unlike other aspects of the music business, sync licensing success is not based on age or freshness. In fact, the age of your catalog might be the very thing that wins a placement to fit the era the film / programme is set in.

"Wouldn't I have more success with Sync if I was famous?"
Not necessarily.
The size of your audience has nothing to do with how "right" a song is for sync.
It might mean you're more likely to enter the ears of music supervisors, yes, but your indie status also means you're more likely to meet the budget and speed requirements for the placement.

"There's no place for [your music genre] in sync licensing!"
What is your genre? Jazz? Hip-Hop? Noise Rock? Country? Experimental?
There's absolutely a sync licensing need for your music, whatever the genre!

How to increase your chances of getting a sync placement.

Your metadata (descriptive terms) are absolutely key for Sync licensing.
A music supervisor will often search for music for sync by using terms related to genre, tempo, similar artists, instrumentation, theme, lyrics, and vibe.
That's why it's crucial during the submission process to complete all the required information about your release, including:

  • Running Time
  • Primary Genre
  • Secondary Genre
  • Sounds-like Artists
  • Primary Mood
  • Secondary Mood
  • Lyrics
  • Lyrical Storyline
Submit an instrumental-only version of your song as well, whenever possible.
Your music might be otherwise perfect for a scene but the lyrics conflict with the dialogue or action.

Sign your whole catalogue up for Sync licensing.

Since age, freshness, release date/s and sales don't matter at all for sync, this is really one area where you can put your whole body of work to work!
Submit all of your songs for sync licensing - spread the net wide!
NOTE : If placement on a distributed Compilation Album (Themed or Otherwise) is secured then such placements may remain in distribution in perpetuity and are not subject to any takedown requests.




Maori Music Publishing UK Ltd

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Maori Music Publishing
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Maori Music Publishing UK Ltd
Bus. Reg. No.: 7793627
PRS For Music : 159804347
MCPS : 159804347
PPL : 102463585
SoundExchange : SOUN13E 16265
Music Reports : MD52003