For Music Supervisors
Search 40,000+ tracks and around 900 hours, audition in your browser, and open the alternate mixes already attached to every master. Free for verified music supervisors, and it stays free.
In short: DropCue gives verified music supervisors free search across a catalog of 40,000+ tracks and around 900 hours, with 23,493 alternate mixes already attached to 15,892 primary tracks and writers, publishers, splits and PRO details shown on the result. It is heaviest in premium trailer music, advertising, TV underscore, sound design and unscripted cues. As of 2026 it is free for verified supervisors with no per-search fee, no subscription and no sales call, and every account is approved by hand, usually within a day.
Apply for free catalog access →40,000+ tracks, around 900 hours, 610 albums. Filter by genre, mood, BPM, key, duration, instruments, vocals, use case and sounds-like. Deepest in sound design (9,207 cues), trailer tools (6,820), orchestral (3,214), orchestral hybrid (2,736), reality TV (1,661) and documentary (1,030).
23,493 instrumentals, cut-downs and reduced versions sit under 15,892 primary tracks, from the same master as the full mix. Hear the version you need before you show anyone the cue, instead of emailing to ask whether it exists.
Writers, publishers, splits, PRO and IPI are filled in on roughly nine tracks in ten, so clearance starts at the search instead of three emails later. That data is supplied by the composers who own the music and DropCue does not verify it independently.
Built for the receiving end
A working music supervisor receives 100 to 400 unsolicited submissions a week on top of the briefs already running. The job is built for speed and ruthless filtering. You listen for 15 to 30 seconds, decide whether to tag or archive, and move to the next one. Most pitches die in the first pass. The composer who survives the audition is the one who built the right pitch for your inbox before you ever opened the email.
DropCue is built so the receiving side of that workflow does not slow you down. Listening to any DropCue link is free with no account needed — open it in a browser, hit play, leave timestamped comments. Receive branded playlist URLs from composers, agencies, and trailer houses with full waveform playback, instant in-browser streaming (no zip files, no downloads required), and timestamped comments that let you leave a note at exactly the bar that matters. The composer sees the comment exactly where you left it. You never have to type "the bridge feels off" again.
DropCue's submission inbox lets you organize incoming pitches into review states: new, shortlisted, on-hold, archived, placed. Tag tracks by mood, tempo, instrumentation, and use case as you triage so the next time a brief lands, you can search your tagged library instead of starting from scratch. The full version of this workflow is documented in our how music supervisors review pitches guide.
For supervisors at trailer houses, ad agencies, and post-production companies who deal with high-volume incoming pitches, DropCue handles bulk catalog management at the scale that matters: thousands of cues, dozens of composers, multiple active briefs simultaneously. Each composer's tracks come in with their full ALT mix and stems bundle pre-attached. No callback emails asking for the instrumental at midnight before a deadline.
Once you shortlist a track, forwarding it to your music coordinator, your editor, or your director is one click. The branded URL plays in any browser without sign-in. Your editor opens it on their iPad in the bay, drops the track under picture, and tests it against the cut. Friction kills shortlists. DropCue removes the friction.
For supervisors managing freelance relationships with specific composers, the platform also functions as a CRM. Tag composers by genre specialty, track engagement on every share, and refresh your roster of go-to writers based on actual placement history. Supervisors who run this discipline systematically place faster than supervisors who rely on memory and inbox search.
Catalog search is free for verified music supervisors and stays free. No card, no trial clock, no supervisor tier, no sales call. DropCue earns its revenue from the composer side, so the people searching for music are not the people paying for the platform. Listening to any DropCue link someone sends you is free too, with no account needed.
The only paid part is optional and sits on the other side of the workflow. If you also want your own branded submission inbox, with drop requests, review statuses, timestamped feedback and consolidated replies, that runs on the same plans composers and agencies use, with no separate supervisor markup. Detail is at dropcue.app/pricing. It changes nothing about catalog access.
The composers whose catalogs you search here chose to put their work in front of supervisors and filled in their own rights data to do it. Many of them came across from DISCO. The composer side of DropCue runs across composers and agencies, and if someone is pitching you through a DropCue link, their alt mixes and splits are already attached to the track.
FAQ
Yes, and it stays free. There is no card, no trial clock, no sales call and no supervisor tier to upgrade to. DropCue earns its revenue from the composer side, so the people searching do not pay. Charging the demand side to search is backwards.
Over 40,000 tracks and around 900 hours across 610 albums, from composers, publishers and libraries who have opted into discovery. It is deepest in sound design (9,207 cues), trailer tools (6,820), orchestral (3,214) and orchestral hybrid (2,736), with reality TV, documentary, rock, pop, electronic and Americana underneath. It is a trailer, games, promo and unscripted catalog rather than a scripted needle-drop catalog.
Yes, and they are already attached. There are 23,493 alternate mixes sitting under 15,892 primary tracks: instrumentals, cut-downs and reduced versions, from the same master as the full mix. You hear the version you need from the search result instead of emailing anyone to ask whether it exists.
Writers, publishers, splits, PRO and IPI appear on the result itself for roughly nine tracks in ten, along with ISRC where supplied. That data comes from the composers who own the music and DropCue does not verify it independently, so treat it as the starting point for a clearance conversation rather than a warranty.
Every supervisor account is approved by hand. That is what protects composers who opted in, since it keeps their catalogs and contact routes away from anyone who is not actually licensing music. Approval is usually within a day and we only ask for your company, your role and a verification link.
Yes. Build a shortlist as you search, drag to reorder, and add per-track notes. Send it as a branded link that plays in any browser with no sign-in, so your editor or director can open it in the bay, or export it as a PDF cue sheet, a CSV, or a download-all ZIP.
Yes. Post what you are looking for and it goes out to opted-in composers, who submit tracks back for you to shortlist or pass on. Search is the fast route when you need something today; a brief is the better route when you want writers coming to you.
No. Any DropCue link opens straight in the browser. Stream audio, watch video, browse sections and leave timestamped comments without an account. Supervisor access is only needed to search the catalog yourself.
That is a separate, optional thing. A branded submission inbox with drop requests, review statuses and consolidated feedback runs on the same paid plans composers use. Catalog search stays free whether or not you ever take one.
What makes a pitch worth opening versus skipping.
How sections let supervisors scan and jump to what they need.
The delivery standards supervisors actually prefer.
Why email and WeTransfer stopped working for pro music delivery.
Search the catalog (free for supervisors)
Free for verified music supervisors, and it stays free. No credit card, no sales call, no supervisor subscription. Applications are reviewed by hand, usually within a day.
Apply for free catalog access →