Clear, fair, fast

How licensing works

From first listen to final sync — a simple, transparent process to clear the right music for your project.

Browse Catalog Get a Quote

Step 1

Browse & preview

Explore the catalog and audition previews to find the right cue for your project.

Step 2

Request a license

Tell me your project, media, usage, territory, and term. I scope the rights you need.

Step 3

Quote & clear

I send a clear, fair quote and draw up the sync license — settled by invoice or bank transfer.

Step 4

License & deliver

Sign, and get your license plus broadcast-quality files, ready to drop into your edit.

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Licensing guides

All guides →

The basics

Sync Licensing Explained

Pairing music with picture — a film, an ad, a YouTube video, a game — needs a license. Here's exactly what that means, and how it works from first listen to cleared track.

Cost & fees

How Much Does It Cost to License a Song?

The honest answer is “it depends” — but it depends on specific, knowable things. Here's what actually sets a sync fee, and the ranges to expect.

The sound

What Does Dark Techno Sound Like?

Dark techno sounds hypnotic and menacing: a relentless four-on-the-floor kick around 125–140 BPM, stripped-back grooves, industrial and metallic textures, deep sub-bass, and cold, dissonant synths that build cinematic tension without ever fully releasing it.

The sound

What Does Organic House Sound Like?

Organic house sounds warm, earthy and transportive: a gentle four-on-the-floor around 110–122 BPM, hand percussion and acoustic instruments (kalimba, flute, plucked strings) layered with soft analog synths, deep round bass, field recordings and wide reverb. The feeling is sunrise-and-sunset — meditative, emotional, and unhurried.

The sound

What Does Deep House Sound Like?

Deep house sounds smooth, warm and sophisticated: 118–125 BPM, softly shuffled drums, lush jazz-tinged chords on Rhodes or pads, a round sub-bass, and soulful vocals or vocal chops sitting back in the mix. The mood is late-night and understated — groove you feel rather than energy that shouts.

The sound

What Does Progressive House Sound Like?

Progressive house sounds like a journey: 124–128 BPM, a rolling sidechained bassline, layers that enter one at a time, long filter sweeps, and a wide-open emotional breakdown before the groove returns. It's patient, expansive and cinematic — built on gradual change rather than sudden drops.

The sound

What Does Progressive Trance Sound Like?

Progressive trance sounds euphoric and wide-screen: 128–136 BPM, a rolling sidechained bassline, shimmering 16th-note arpeggios, huge supersaw pads, and a breakdown that strips everything back to a soaring melody before the drop. It's emotional release built through patient layering.

The sound

What Does Dub House Sound Like?

Dub house sounds hazy, deep and spacious: 118–125 BPM, off-beat chord stabs soaked in delay and spring reverb, a deep round sub-bass, sparse tape-saturated drums, and long echo throws that drift across the stereo field. It's hypnotic and smoky — house music treated like a dub plate.

The sound

What Does Romantic House Sound Like?

Romantic house sounds tender and nostalgic: 118–124 BPM, lush major-seventh chords on warm keys and strings, soft or wordless vocals, a gentle rounded groove and generous reverb. It's house music written for feeling rather than the floor — yearning, intimate and quietly uplifting.

The sound

What Does Afrobeat Sound Like?

Afrobeat sounds joyful, hypnotic and horn-driven: 100–120 BPM, interlocking guitar and organ figures, dense conga and shekere polyrhythms, a fat repeating bassline, and bold horn-section riffs over long-form grooves. Note the 's': modern Afrobeats is a different, more recent pop sound.

The sound

The Synth Sounds That Define Film, TV & Advertising

Five synth sounds do most of the work on screen: warm analog pads (emotion), arpeggiated sequences (tension and momentum), sub-bass drones (dread and weight), plucks and bells (wonder and tech), and tape-era textures like Mellotron (nostalgia). The hardest to license isn't a sound at all — it's a bed with movement that stays out of the way of dialogue, and comes with stems and edits.

The sound

The Synth Sounds That Define Video Games

Game synth palettes split by function: retro FM and chiptune for nostalgia, analog arps and synthwave for drive, deep evolving drones for exploration, supersaws and aggressive basses for combat. The hard part isn't the sound — it's music that loops seamlessly, survives its fiftieth repeat, ships as adaptive stems, and carries a license that actually covers interactive media.

By region

Music Licensing in the Midwest

The Midwest — Chicago's ad agencies, regional film and TV, and a deep bench of corporate and brand video — licenses a lot of music. Here's how sync licensing works for a Midwest project, and how to clear the right track quickly and affordably.

The sound

How Stranger Things Built Its Sound

Stranger Things is two sounds wearing one name: an analog-synth score composed by Kyle Dixon and Michael Stein, and a decade of licensed period records chosen by supervisor Nora Felder — a run that carried a 1985 Kate Bush single to number one and closed, in the 2025 finale, by clearing Prince. Here is how the sound was assembled, and what the clearances actually took.

The sound

The Euphoria Sound — and the Season It Walked Out the Door

The Euphoria sound — Labrinth's gospel-trap-orchestral score threaded through Jen Malone's needle drops — defined television music for two seasons, then left the building: season three arrived in spring 2026 with Hans Zimmer scoring and both Malone and Labrinth gone. Here's what that sound was, why a placement in it moved streaming numbers by four figures, and how to license the feel that made it.

The sound

The White Lotus: A Sound Drawn Like a Map

The White Lotus sounds like paradise with something wrong underneath — percussion, wordless chant and birdsong composed by Cristóbal Tapia de Veer across the first three seasons, over needle drops that re-root the show in each new place. The composer left in 2025 after a public falling-out, season four's score is unassigned, and the season-three clearance story is a masterclass in licensing across borders.

The sound

The Bear Has No Music Supervisor — That's the Secret

The Bear never credited a music supervisor. Creator Christopher Storer and producer Josh Senior picked every record themselves, built each season's playlist before cameras rolled, and used needle drops the way other shows use score. The result — Refused, Radiohead, Wilco live in Chicago, Taylor Swift — became the most imitated soundtrack on television, and most briefs chasing it start from the wrong premise.

Frequently asked

What is sync licensing?

A sync (synchronization) license grants the right to pair a piece of music with visual media — film, ads, games, and more.

Do you offer one-stop clearance?

Where I control both the master and publishing, yes — a single agreement clears the track for your use.

Can I license for worldwide, all-media use?

Absolutely. I scope licenses by media, territory, and term to fit your project and budget.

How fast can you turn around a quote?

Most quotes go out within one business day of your request.