About SyncByJT
A working music catalog run by the person who wrote and recorded it — licensed directly, in one signature, for film, television, advertising, games, podcasts and trailers.
The music
SyncByJT is the sync-licensing home of Joseph Abrams, who records as Joseph Thomas (also known as joeta4). The catalog grew out of a long relationship with electronic music — house in particular, which he found around 1993 when the Tampa club scene was in full flight and has been making in some form ever since.
Every track in the catalog is listed the way a music supervisor actually searches: mood, BPM, genre, duration, whether there's a vocal, and a 30-second preview you can audition before you ever speak to anyone. That vocabulary isn't decoration — it's how real briefs are written, and it's there so you can find the right cue in minutes instead of trading emails for a week.
Why clearance here is fast
Most music has two owners: whoever controls the song (the composition) and whoever controls the recording (the master). Licensing a famous track means finding both, negotiating with both, and waiting on both — which is why sync deals so often take weeks or die on the vine.
Here, one person wrote it, played it, recorded it and owns it. That means one-stop clearance: a single agreement, a single signature, a single fee. No publisher to chase, no label to wait on. You're talking to the composer, not an account manager who has to go and ask.
Pricing is scoped to the use — media, territory, term, exclusivity — because that's what a sync fee is actually made of. Tell us the project and you get a real quote, not a sticker price pretending to fit every job.
The studio
Alongside the catalog there's a working room. Audio is summed through a real Mackie 8-Bus 24-channel console, converted on the way out by an SSL Alpha 8 (clean and precise) or an Apogee Rosetta 800 (warm and tape-like), captured back to digital on a reference RME ADI-2 FS, with Eventide effects for space and movement.
That room does mixing, mastering and analog enrichment for other people's music too — including tracks made with AI tools. There's no gatekeeping about where a piece of music came from; the work is putting a human and real hardware on it, and sending back something that sounds like a record.
Every booking comes back with photos and a video of your track on the console. Not a marketing flourish — proof that a person actually did the work.
Who this is for
Filmmakers, editors, music supervisors, ad agencies, game studios, podcasters and YouTubers who need music they can actually clear — quickly, at a fee that matches the size of the project, from someone who answers their own email.
If that's you, start with the catalog or read how licensing works. When you've found something, send the project details and you'll get a real quote back.