The Best Sync Licensing Companies Accepting Submissions in 2026
The Best Sync Licensing Companies Accepting Submissions in 2026
Getting your music placed in film, TV, trailers, and advertising starts with one critical step: getting it in front of the right people. But the sync licensing landscape is sprawling, and not every company is the right fit for every artist. Some want polished orchestral suites built for blockbuster trailers. Others want raw, lo-fi indie tracks for coming-of-age dramas. Some accept unsolicited demos. Others work exclusively through referrals.
This guide breaks down 18 real sync licensing companies that are actively working with composers, producers, and artists in 2026. Each entry covers what they are known for, what kind of music they look for, and how to approach them. No filler, no outdated listings, no companies that shuttered in 2023. Just actionable information you can use today.
If you are new to the sync world or want a broader roadmap before diving in, start with [How to Build a Sync Licensing Career from Scratch](/blog/how-to-build-sync-licensing-career).
How This List Is Organized
The sync licensing world is not monolithic. Companies operate very differently depending on their niche, and understanding those differences will save you time and increase your placement odds. We have organized this list into four categories:
- Trailer Music Houses — Companies that specialize in music for movie trailers, video game trailers, and promotional campaigns. They typically want big, cinematic, highly produced tracks.
- Sync Agencies — Firms that represent artists and catalogs, actively pitching music to music supervisors for film, TV, and advertising placements.
- Production Music Libraries — Large-scale catalogs that license pre-cleared music across broadcast, digital, and corporate media.
- Boutique and Indie-Friendly Companies — Smaller or more accessible platforms that work with independent artists and often have lower barriers to entry.
Before you submit anywhere, make sure your tracks are properly organized, tagged with metadata, and grouped into focused playlists that match what each company is looking for. A scattershot approach wastes everyone's time. For a deep dive on structuring your submissions, read [The Complete Guide to Playlist Sections for Music Pitching](/blog/complete-guide-playlist-sections-music-pitching).
Trailer Music Houses
Trailer music is one of the most lucrative corners of sync licensing, but it is also one of the most competitive. These companies supply music for Hollywood trailers, video game promos, and major brand campaigns. Production quality expectations are extremely high.
1. Tonal Chaos Trailers
Tonal Chaos Trailers is a Los Angeles-based trailer music company founded by composer Marc Jacobs, specializing in high-impact cinematic music for film trailers, TV promos, video game campaigns, and advertising. The catalog spans epic orchestral, hybrid electronic, dark atmospheric, and emotionally driven compositions — all written and produced by working composers who understand what trailer editors need.
What they want: Epic orchestral, hybrid cinematic, dark tension, emotional builds, sci-fi, action, horror, and dramatic underscore. Tonal Chaos is particularly strong in tracks with clear energy arcs — the kind of music that builds from atmosphere to impact in a way that maps naturally to trailer structure. Every track in the catalog comes with full mixes, instrumentals, underscores, stems, and pre-cut edits.
Submission approach: Tonal Chaos works with a select roster of composers. If your production quality is at a professional trailer music level and you can deliver full packages (not just stereo mixes), reach out through their website. They value composers who understand the format and can deliver consistently.
2. Position Music
Position Music is one of the most established trailer music companies in the industry, with placements spanning major studio films, television networks, and global advertising campaigns. Based in Los Angeles, they have built a reputation for blending high-end production value with creative versatility.
What they want: Epic orchestral, hybrid orchestral-electronic, tension and suspense cues, anthemic rock, emotional piano-driven pieces, and modern cinematic pop. They are looking for tracks that can compete at the highest level of trailer production.
Submission approach: Position Music does accept submissions, but they are selective. They prefer to hear fully produced, mixed, and mastered tracks rather than demos. Visit their website and look for their submission guidelines. Having a strong body of work and professional metadata on every track will set you apart.
3. Audiomachine
Audiomachine is a powerhouse in the trailer music space, known for massive orchestral and hybrid compositions that have been used in trailers for franchises like Marvel, DC, Star Wars, and countless AAA video games. Their catalog is enormous and their standards are exacting.
What they want: Large-scale orchestral compositions, hybrid electronic-orchestral pieces, and epic vocal tracks. They gravitate toward music that is cinematic, emotionally powerful, and built for impact moments in trailers. Think sweeping strings, thundering percussion, and soaring brass.
Submission approach: Audiomachine works with a roster of established composers but does review new submissions. Your production quality must be indistinguishable from what is already in their catalog. Submit through their official channels and be prepared to demonstrate a deep understanding of trailer music structure and dynamics.
4. Two Steps From Hell Publishing
Two Steps From Hell began as a trailer music production company founded by Thomas Bergersen and Nick Phoenix, and has grown into one of the most recognized names in epic music. Their publishing arm licenses music for trailers, film, TV, and advertising worldwide.
What they want: Grand orchestral compositions, choral pieces, epic hybrid tracks, and emotionally sweeping instrumental music. They are synonymous with a specific sound — massive, cinematic, and emotionally stirring — and submissions should align with that identity.
Submission approach: Two Steps From Hell Publishing is more selective than most and tends to work with composers who already have a strong track record in cinematic music. Networking within the trailer music community and having a polished portfolio are essential before approaching them. Check their website for any open submission windows or composer calls.
5. Elephant Music
Elephant Music is a UK-based trailer music company that has carved out a strong reputation for supplying music to major film and television campaigns across Europe and North America. They are known for a slightly more contemporary and diverse sonic palette compared to some of the more traditional orchestral houses.
What they want: Cinematic hybrid tracks, modern orchestral pieces, dark and atmospheric compositions, electronic-infused trailer cues, and emotionally resonant underscore. They appreciate composers who can bring fresh perspectives to the trailer format.
Submission approach: Elephant Music accepts submissions from composers and producers. They value originality and production quality equally. Review their existing catalog to understand their aesthetic before submitting, and make sure your tracks are fully produced and properly mastered.
6. Gothic Storm
Gothic Storm is a prolific trailer and production music company based in the UK, with a catalog that spans thousands of tracks used in trailers, promos, and broadcast media worldwide. They release new albums regularly and are consistently looking for fresh material.
What they want: A wide range of cinematic styles including epic orchestral, dark ambient, suspense, action, drama, and lighter emotional pieces. They are one of the more volume-driven trailer houses, which means they have more opportunities for composers at various experience levels.
Submission approach: Gothic Storm is relatively accessible compared to some trailer houses. They accept submissions through their website and are open to working with newer composers who demonstrate strong production skills and an understanding of trailer music conventions. This can be a good entry point for composers breaking into the trailer music world.
Sync Agencies
Sync agencies sit between artists and music supervisors, actively pitching songs and instrumental tracks for specific placements in film, TV, and advertising. They are relationship-driven businesses, and getting signed to a good agency can dramatically increase your placement opportunities.
7. Bank Robber Music
Bank Robber Music is a Los Angeles-based sync agency known for representing a curated roster of indie, alternative, and emerging artists. They have built strong relationships with music supervisors across major networks and streaming platforms, and they are widely respected for the quality of their roster.
What they want: Indie rock, indie pop, folk, alternative, electronic, and singer-songwriter material. They tend to favor music with authentic vocals, distinctive production, and emotional depth. If your music fits comfortably in a scene from a prestige TV drama or an indie film, Bank Robber might be a fit.
Submission approach: Bank Robber accepts submissions but is highly selective. They want to hear finished, released or release-ready tracks with clean vocals and professional production. A strong artist identity and existing release history will help your case. Submit through their website and keep your submission focused — send your best three to five tracks, not your entire catalog.
8. Secret Road
Secret Road is a sync licensing agency with offices in Los Angeles and Nashville, representing both established and emerging artists across multiple genres. They are known for having one of the more diverse rosters in the sync agency world, and they have placed music in shows across HBO, Netflix, Hulu, and major advertising campaigns.
What they want: A broad range of genres including indie, pop, R&B, hip-hop, electronic, country, folk, and Americana. They are genre-agnostic but quality-obsessive. Tracks need to be emotionally evocative, well-produced, and suitable for visual storytelling.
Submission approach: Secret Road reviews submissions on a rolling basis. They prefer to receive a curated selection of your best work rather than a massive dump of tracks. Make sure your metadata is complete and your tracks are cleared for sync use. Having a professional online presence and a body of released work strengthens your submission.
9. Terrorbird Media
Terrorbird Media is a Canadian sync agency that has become one of the most active independent pitching companies in North America. They represent a large and diverse roster of indie artists and labels, and they have built a reputation for volume and consistency in placements across television and advertising.
What they want: Indie rock, indie pop, electronic, folk, hip-hop, and experimental music. Terrorbird is particularly open to working with independent and DIY artists who have strong, distinctive material. They value originality and are willing to take chances on less conventional sounds.
Submission approach: Terrorbird is one of the more accessible sync agencies for independent artists. They accept submissions through their website and review them regularly. Focus on sending well-produced tracks with clear vocals when applicable. They appreciate artists who are prolific and can provide a steady stream of new material.
10. Musicbed
Musicbed operates as both a sync licensing platform and a curated agency, connecting filmmakers, brands, and content creators with high-quality music from independent artists. They have positioned themselves as a premium alternative to royalty-free libraries, emphasizing artist compensation and creative quality.
What they want: Cinematic instrumental music, indie folk, ambient, electronic, modern classical, singer-songwriter material, and atmospheric production music. They cater heavily to the filmmaking and branded content community, so music that works well under dialogue or as emotional underscore performs particularly well.
Submission approach: Musicbed has an application process for artists. You submit through their website, and their curation team reviews your work. They are selective but accessible to independent artists with professional-quality recordings. A cohesive artistic identity and a catalog of at least several tracks will strengthen your application.
Production Music Libraries
Production music libraries maintain massive catalogs of pre-cleared music that broadcasters, production companies, and brands can license quickly and efficiently. Getting into a major library means your music is available for thousands of potential placements, though individual track fees are typically lower than direct sync placements.
11. APM Music
APM Music is one of the oldest and largest production music libraries in the world, with a catalog spanning hundreds of thousands of tracks across every conceivable genre and mood. They supply music to major television networks, film studios, and advertising agencies globally.
What they want: Everything. APM's catalog is vast, and they need music across all genres, tempos, moods, and instrumentation. That said, they maintain high production standards. They are particularly interested in music that fills gaps in their existing catalog, whether that is specific cultural genres, modern electronic subgenres, or specialized instrumental configurations.
Submission approach: APM works with composers and producers on an exclusive or non-exclusive basis depending on the arrangement. Reach out through their website or through industry contacts. They are professional and structured in their onboarding process, so expect a formal review of your catalog and capabilities.
12. Extreme Music
Extreme Music is a Sony Music Publishing company and one of the most prestigious production music libraries in the industry. Their catalog is used extensively in film trailers, television, advertising, and video games, and they are known for commissioning high-profile composers and artists.
What they want: High-end production across all genres, with particular strength in cinematic, urban, electronic, rock, and pop. They commission albums around specific themes, moods, or briefs, so they are often looking for composers who can deliver a cohesive body of work on a particular topic rather than individual one-off tracks.
Submission approach: Extreme Music is selective and typically works through referrals or direct outreach to composers they have identified. Having a strong portfolio, credits, and industry connections will help. Check their website for any open briefs or composer calls, and do not be afraid to reach out directly with a professional pitch.
13. Outsider Music
Outsider Music is a production music catalog co-owned by Marc Jacobs and Greg Wiktorski, built to fill the gap between boutique sync agencies and massive production libraries. The catalog covers a wide range of styles including indie, electronic, acoustic, ambient, modern pop instrumentals, and contemporary underscore — all produced to broadcast-ready standards for TV, film, advertising, and digital media.
What they want: A diverse range of genres and moods — from atmospheric underscore and indie folk to driving electronic and modern pop instrumentals. Outsider Music is particularly well-suited for TV placements, branded content, and advertising where the music needs to feel contemporary and emotionally resonant. Clean production and strong melodic sensibility are valued. Both vocal and instrumental versions are welcome.
Submission approach: Outsider Music reviews submissions from composers and producers who can deliver professionally mixed and mastered material across multiple genres. Reach out through their website with a curated selection of your strongest work. They appreciate versatility and consistency, and composers who can deliver full packages including instrumentals and alt mixes have an advantage.
14. FirstCom Music
FirstCom Music is a major production music library owned by Universal Music Publishing, offering a comprehensive catalog for broadcast, film, advertising, and digital media. They have a global presence and a reputation for reliable, high-quality production music.
What they want: Broad genre coverage including orchestral, pop, rock, electronic, hip-hop, country, jazz, world music, and ambient. They are always looking to refresh and expand their catalog with contemporary sounds and production styles. Tracks that can serve as bed music under dialogue or narration are consistently in demand.
Submission approach: FirstCom works with composers on a work-for-hire or licensing basis. Reach out through their website or industry connections. Be prepared to demonstrate your ability to deliver consistent quality across multiple tracks and genres. They often commission full albums, so showing you can sustain a creative vision across ten or more tracks is valuable.
Boutique and Indie-Friendly Companies
These companies are often the most accessible entry point for independent artists getting into sync licensing. They typically have lower barriers to submission, more transparent processes, and a genuine interest in working with emerging talent.
15. Marmoset
Marmoset is a Portland-based music agency that has built a devoted following among filmmakers, agencies, and brands looking for authentic, emotionally resonant music. They are known for their curated approach, strong artist relationships, and commitment to fair compensation.
What they want: Indie folk, indie rock, ambient, electronic, singer-songwriter, and experimental music. Marmoset values authenticity and emotional resonance above all. They want music that feels real, not manufactured. If your songs tell stories or create vivid emotional landscapes, Marmoset could be an excellent fit.
Submission approach: Marmoset accepts submissions through their website. They review everything that comes in, though response times can vary. Submit your best three to five tracks with complete metadata. They appreciate artists who have a clear creative identity and are actively releasing music.
16. Music Vine
Music Vine is a UK-based sync licensing platform that connects independent musicians with filmmakers and content creators. They have built a strong reputation in the wedding film, documentary, and branded content communities, and they pride themselves on offering high-quality music at accessible price points.
What they want: Cinematic instrumental, acoustic, ambient, indie folk, modern classical, electronic, and atmospheric tracks. Music that enhances visual storytelling without competing for attention is their sweet spot. They are particularly strong in underscore and mood-setting pieces.
Submission approach: Music Vine has an open submission process through their website. Their curation team listens to every submission and provides feedback. They are one of the more welcoming platforms for emerging composers and artists, making them an excellent starting point for building your sync catalog.
17. Artlist
Artlist is an Israeli-founded music licensing platform that has grown rapidly into one of the most popular subscription-based music services for content creators, filmmakers, and brands. Their model offers unlimited downloads for subscribers, and they pay artists from a revenue-sharing pool.
What they want: A wide range of genres including cinematic, electronic, pop, hip-hop, rock, ambient, acoustic, and world music. They prioritize production quality and versatility. Tracks that work across multiple visual contexts tend to perform best on the platform.
Submission approach: Artlist accepts submissions through an application form on their website. They review your catalog and artistic profile, and if accepted, you can upload tracks to their platform on an ongoing basis. The barrier to entry is moderate, and they are continuously growing their catalog.
18. Soundstripe
Soundstripe is a Nashville-based music licensing platform offering subscription-based access to a curated library of songs and sound effects. They work primarily with content creators, YouTubers, podcasters, and small production companies, and they have been steadily growing their artist roster.
What they want: Pop, indie, rock, electronic, hip-hop, country, acoustic, ambient, and cinematic instrumental. They need music that works for a broad range of content creation applications, from YouTube videos to corporate presentations to short films. Clean, well-produced tracks with clear emotional direction perform best.
Submission approach: Soundstripe has an artist application process on their website. They are relatively accessible and review submissions on a rolling basis. They are a good option for artists who want to build a passive income stream from sync licensing while retaining ownership of their masters.
Before You Submit: Getting Your Music Ready
Having great music is necessary but not sufficient. Every company on this list receives hundreds or thousands of submissions. The artists who get signed and placed consistently are the ones who present their music professionally and make the reviewer's job easy.
Here is what you should have in order before submitting anywhere:
Metadata Must Be Complete
Every track you submit should have complete, accurate metadata including title, artist name, genre, mood tags, tempo, key, instrumentation, and whether it contains vocals. Missing metadata signals that you are not a professional, and many companies will pass on your submission without listening if the basics are not covered.
Tracks Must Be Cleared for Sync
This means you own or control 100% of the master recording and composition, or you have written agreements with any co-writers or collaborators granting sync rights. Companies cannot pitch your music if there are unresolved ownership questions.
Build Focused Submission Playlists
Do not send every track you have ever made. Build curated playlists of five to ten tracks tailored to what each specific company is looking for. A trailer music house does not want to sift through your acoustic demos, and a boutique indie agency does not need your orchestral battle cues.
Production Quality Is Non-Negotiable
Your tracks need to be professionally mixed and mastered. This does not mean you need a major-label budget, but it does mean your music should sound competitive with what is already in these companies' catalogs. If a track sounds like a rough demo, it is not ready for submission.
For a detailed breakdown of the full workflow from receiving a brief to landing a placement, check out [Sync Licensing Workflow: From Brief to Placement](/blog/sync-licensing-workflow-brief-to-placement).
Submission Strategy: Quality Over Quantity
One of the most common mistakes artists make is blasting the same generic email to every company on a list like this. That approach rarely works and can damage your reputation in a relationship-driven industry.
Instead, take a targeted approach:
- Research each company thoroughly. Listen to their existing catalog. Understand what they place and where. If your music does not fit, do not waste their time or yours.
- Customize your submission. Reference specific placements they have made that align with your sound. Show that you understand their business, not just that you want a placement.
- Start with the companies closest to your sound. If you make lo-fi indie folk, start with Marmoset and Music Vine rather than Audiomachine. Fit matters more than prestige.
- Follow up once, respectfully. If you do not hear back after two to three weeks, a single polite follow-up is appropriate. After that, move on.
- Keep creating. The artists who build long-term sync careers are the ones who consistently release new, high-quality material. A single submission is just the beginning.
Building a Long-Term Sync Catalog
Getting onto one of these company's rosters is not the finish line. It is the starting point. The artists who earn the most from sync licensing are the ones who treat it as an ongoing business, not a one-time lottery ticket.
That means continuously building your catalog with intention. Pay attention to what is getting placed in the shows, films, and ads you watch. Notice the moods, tempos, and instrumentation that keep coming up. Create music that fills those needs while staying true to your artistic identity.
Organize your growing catalog into clearly defined playlists by mood, tempo, genre, and use case. When a music supervisor or sync agent sends a brief, you should be able to pull together a targeted selection of tracks within minutes, not hours.
The artists who win at sync are organized, responsive, and prolific. They treat every submission as a professional interaction. They keep their metadata clean, their rights clear, and their playlists sharp.
Start Organizing Your Sync Submissions
The difference between artists who land placements and artists who do not often comes down to organization and presentation. Your music might be exactly what a supervisor is looking for, but if it is buried in an untagged folder with no metadata, it will never get heard.
Build playlists tailored to each company you want to submit to. Tag every track with accurate mood, genre, and instrumentation data. Keep your catalog organized so you can respond to briefs and opportunities quickly.
The companies on this list are actively looking for great music. Make sure yours is ready when the opportunity arrives.
[Start building submission-ready playlists. Try DropCue free.](/signup)