Sync representation for independent artists
Music you can actually clear, answered at the speed of the brief.
Verilux Music represents independent artists for sync licensing only. Every track we pitch is one-stop or easy-clear, ships with an instrumental version, and is quoted by the person who can say yes. No retitling. No chain-of-title archaeology.
For music supervisors & creative directors
Four things that decide whether a track makes your cut.
You are not short of music. You are short of music that survives legal, fits the edit, and can be quoted before the client calls back. That is the entire job here.
One-stop or easy-clear, always
Master and composition come from the same place, or the remaining rights clear inside the same 12–72 hour window you already work to, with direct contacts for every other rights holder. We tell you which of the two it is before you fall in love with the cue.
Answered inside your window
Our artists pre-approve standard commercial, TV, film and game use outside a short opt-out list they set at signing. That is why we can come back on a brief in hours instead of chasing signatures for a week.
Instrumentals standard, stems on request
An instrumental version of every track is a condition of representation — no exceptions, because ad work needs a bed under voiceover. Stems are strongly requested from every artist, and we will tell you plainly which tracks have them.
One person, no relay
You correspond with the person who searches the catalog, talks to the artist and signs the license. No account manager, no ticket queue, no "let me check with publishing and get back to you."
Chain of title
We never retitle, and we never represent a retitled work.
Retitling creates chain-of-title ambiguity, cue-sheet mismatches and misrouted royalties — and supervisors increasingly reject retitled tracks outright. If either the master or the underlying composition is already committed to an exclusive agreement elsewhere, we pass on the track. You get the real title, the real writers, and a cue sheet that matches the registration.
Discovery
Be the reason someone hears them first.
Every catalog can sell you a competent bed. What a catalog rarely gives you is the chance to put an unknown artist in front of millions of people and be the one who did it.
Music nobody has pitched you yet
Our roster is independent artists early in their sync life — not a library that has already been sent to every supervisor on your floor. When you drop one of these cues in a cut, it does not sound like something you have heard in three other spots this year.
Released or unreleased — your call
Some of our catalog is out in the world with streaming numbers you can look up. Some has never been released, which means your placement is the premiere. We require neither and we label which is which, so you can pick the story that suits the project.
In the tools you already use
We keep the catalog on Disco and Bridge.audio, so a shortlist arrives as a link that behaves the way you expect — playable, downloadable, shareable with your team. No new login, no portal to learn.
How it works
Brief to signed license, in four moves.
No login, no seat fee, no subscription. Send the brief the way you already write it.
Send the brief
Reference tracks, the cut, media, territory, term, and your budget range if you have one. A rough brief is still a brief — send it.
Get a tight shortlist
A short, listenable set with clearance status marked on each one, plus the instrumental and any alternate lengths — delivered as a Disco or Bridge.audio link, or plain files if you prefer. Curated by a human, not a similarity score.
Get a real quote
A fee for the actual use — media, territory, term, exclusivity. We are most-favored-nation friendly and will confirm that in writing.
Sign and deliver
One license covering master and composition, a matching cue sheet, and delivery of the vocal, the instrumental and any stems and alternate lengths you need.
Territory: worldwide. Media: all. Verilux represents sync licensing rights only — we hold no distribution rights and take no ownership. Some artists also ask us to administer their US publishing; most do not, and it is their choice either way. That keeps the grant narrow, which is what makes it fast.
For artists
Libraries want your composition. Labels want your master. We want neither.
We put your songs in front of music supervisors the way a publisher or a library would, and we are paid out of the sync fees we land — not out of your catalog. Your best song deserves a bigger room than your streaming numbers. Sync does not care how many followers you have. It cares whether the song fits the scene and whether the rights are clean. That is a game an independent artist can actually win — and it is the only game we play.
- You keep your publishing. All of it, plus your writer’s share and every PRO royalty that follows a placement.
- Three ways to work with us. Non-exclusive by default, with exclusive tiers if and when you want them — you choose, song by song, and this is never a publishing deal on your catalog.
- We never retitle. Ever. Your title, your writers, your registration — intact.
- Every number in writing, up front. Our split, our term and our payment window are published in full on the artist page — before you speak to us.
Accepting applications through September 30, 2026.
Grab your coat and get your hat,“On the Sunny Side of the Street” · Dorothy Fields & Jimmy McHugh, 1930 · public domain
leave your worry on the doorstep.
Next step
Have a spot to fill? Send the brief.
Tell us the cut, the media, the territory and the deadline. If we do not have the right thing, we will say so quickly rather than waste your afternoon.