Tips from a Music Supervisor: How to Pitch Your Music for Sync

Cold Pitching

Cold pitching your music for placements in film, TV, and advertising can feel like navigating a maze. I reached out to two seasoned voices in the industry to get the inside scoop on what makes a pitch stand out—and what trips it up. Ian Larsen (Music Supervisor | Music Director at Stephen Arnold Music) offered tactical insight from the supervisor’s desk, while Barry Coffing (music supervisor, art evangelist, and founder of Music Supervisors Inc and WeGetArtists) shared big-picture guidance for building long-term momentum.

Here’s a breakdown of their top strategies, rookie mistakes, and the sonic qualities that truly resonate.

1. Effective Outreach: Keep It Short, Smart & Relationship-Driven

Ian Larsen emphasizes the importance of clarity and brevity when making first contact:

  • Choose the right channel: LinkedIn or email both work—direct outreach beats mass messaging.

  • Craft a concise pitch: A quick elevator pitch + link to your reel + a handful of your best, most relevant tracks.

  • Show you’ve done your homework: Mention recent projects or briefs to demonstrate genuine interest.

  • Build rapport: Offer a brief Zoom chat to let your personality shine. Understanding you as a person helps Ian (and other supervisors) see how your strengths align with their projects.

  • Think licensing first: Be transparent about ownership, one‑stop clearance, and availability of vocals or alternate mixes. It saves time and signals you’re sync‑savvy.

“It’s often about the relationship. Whether it’s custom work or a needle drop, understanding the person behind the music helps me get a better sense of how their strengths might align with a given project.”
—Ian Larsen

Barry Coffing echoes the importance of outreach but offers a refreshingly simple answer to a common question:

“What’s the most helpful way for a composer or artist to get on your radar? Just send me an email and I will point them to our licensing platform: www.WeGetArtists.com.”
—Barry Coffing

2. Avoid These Sync Pitch Pitfalls

Even the best composers can stumble in their pitches. Here are the two biggest traps Ian sees:

  • Too much music: Sending 20+ tracks might seem like variety, but it overwhelms. Stick to 10–12 of your strongest pieces—only more if the brief explicitly asks for it.

  • Lack of creative alignment: Pitching without fully grasping the creative direction leads to mismatches. Always:

    • Read the brief carefully.

    • Ask questions or request feedback when possible.

    • Refine your selection based on responses.

“You’re probably not the only one competing—only send what truly aligns with the project, and leave the door open for follow‑up.”
—Ian Larsen

And Barry flags this as the most common rookie mistake he sees:

“Not following the instructions.”
—Barry Coffing

3. What Supervisors Are Listening For

Beyond a catchy hook, Ian looks for:

  • Authentic period sound: Whether it’s the ’60s or ’90s, it should feel genuine—not like a modern copy.

  • Depth in performance & production: Attention to era‑specific recording techniques and instrumentation.

  • Vocals that elevate: Even in background sync, a well‑crafted vocal can transform a spot—when it matches the mood, it surprises in the best way.

“It’s usually obvious when something was made in 2025 to sound retro rather than feel like it came from that era.”
—Ian Larsen

Barry keeps the ask simple—but high quality:

“What kind of music are you always looking for—but rarely find done well? Great songs.”
—Barry Coffing

Wrapping Up

Sync pitching is equal parts art and strategy. By keeping your outreach concise, avoiding overload, and focusing on authentic, well‑produced tracks, you’ll make a stronger impression—and forge relationships that lead to placements.

I feel it’s worth saying one more time, as it’s the advice I’ve heard from countless mentors, music supervisors, friends, and foes: compose what you love, and be prolific. The book Art & Fear illustrates this beautifully with a story about a photography class—where one group was graded on producing a single perfect image, and the other on sheer volume. In the end, the students who took the most photos created the best ones. Why? Because mastery comes from repetition, not hesitation. In sync licensing, the same principle applies: volume refines instinct, and instinct finds opportunity.

Ready to refine your pitch? Update your reel, curate your top 10, and send a thoughtful note. And if you’ve got any questions about sync licensing, leave a comment below or reach out via LinkedIn.

Happy pitching.

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