Sync Pitch Template + Sample Submission Email

Music supervisors get hundreds of emails a week. They open the ones that look like work, not fan mail.

The pitch email — copy/adapt

Subject: Sync sub — [Mood] [Genre] — Instrumental + Vocal — One-stop

Hi [Supervisor first name],

Submitting "[Song Title]" for your library.

• Mood/Vibe: [3 adjectives + a reference: "Warm, slow-building, hopeful — Bon Iver meets H.E.R."]
• Tempo: 92 BPM, 4/4
• Versions delivered: Full, Instrumental, TV mix (no swears), 60s edit, 30s edit
• Stems: Yes — drums, bass, keys, vox, FX
• Clearance: One-stop. I own master + 100% of publishing. No samples.
• Files: [Disco / private SoundCloud / Dropbox link]

Happy to deliver alts in 24–48h if needed.

— [Name], [PRO + IPI], [phone]

What "one-stop" really means

• You hold (or control) both the master and the composition.
• You can clear the song WITHOUT calling another writer/publisher.
• One-stops get prioritized because supervisors are on deadlines and can't chase signatures.

Library checklist (every track, every time)

• Master WAV (24-bit, 48kHz)
• Instrumental WAV
• TV mix (no curse words, no brand mentions)
• :60 and :30 edits with clean endings
• Stems folder, labeled and bounced from bar 1
• Metadata embedded in the WAV (title, artist, ISRC, BPM, key)
• Lyric sheet (PDF) if vocal
• Split sheet attached

Where to submit

• Music supervisors directly (Guild of Music Supervisors directory + LinkedIn).
• Music libraries (Musicbed, Marmoset, APM, Pond5, Songtradr).
• Sync agents (will take 30–50% but bring real briefs).
• Brand-aligned shows/networks (research credits in your favorite shows; many supervisors list themselves on IMDb).

Reality check

First 6 months of sync hustle = a lot of nothing. Then a single placement can pay $500–$50,000+ for one cue. The artists who keep submitting after the silent stretch are the ones who eat.