About
One person reads every song that comes in.
Verilux Music represents independent artists for sync licensing only, from Bozeman, Montana. Representation is non-exclusive by default, with two exclusive options an artist can choose song by song. We pitch directly to the people who choose music for film, television, advertising and games.
The name
Veritas and lux. True light.
The name is a promise about paperwork as much as about music. In sync, the thing that kills a placement is rarely the song — it is the ambiguity behind it. Two titles for one recording. A co-writer nobody can reach. A master quietly committed somewhere else. A cue sheet that does not match the registration.
Verilux exists to remove that ambiguity before a buyer ever hears the track. One-stop or easy-clear, never retitled, an instrumental on every cue, and a complete split sheet — plus any work-for-hire agreements — on file. That is unglamorous work, and it is most of the job.
Who you are dealing with
Daniel Hartzheim
Founder, Verilux Music — Bozeman, Montana.
In market terms: Verilux gets your songs in front of music supervisors the way a publisher or a music library would, and goes out and finds artists the way a label’s A&R would. The difference is what we ask for in return — nothing you own. You keep 100% of your master, your composition copyright and your writer’s share, and we are paid out of the sync fees we actually land, not out of your catalog.
Daniel founded Verilux Music to represent independent artists in sync on terms he would sign himself. He is also a working writer and producer, which is the reason three things are true on every deal we offer: your writer’s share is never touched, nothing is ever retitled, and we take nothing at all on a sync you land yourself. The default deal is 40% of the upfront fee and nothing else. The two exclusive options take a smaller cut of the fee in exchange for a commitment on the specific songs you list, and one of them can administer your US publishing if you want that. Every clause in the agreement was read from the artist’s side of the table first.
He is a Berklee College of Music alum, where he studied on a film scoring scholarship and was a consistent top winner in the songwriting department’s competitions. Scoring taught him how music serves a picture; the songwriting side taught him what makes a song worth reaching for in the first place. Both are the whole of this job.
He is also a Sync Summit member, which is where a lot of the education and the relationship-building in this business began, and he spends most of his week doing the two things that matter: listening to catalogs and talking to the people who choose music for a living.
When you email Verilux, you are emailing Daniel. He searches the catalog, writes the shortlist, quotes the fee, signs the license and sends the statement. For a buyer that means no relay and no "let me check with publishing." For an artist it means one person who is accountable for what happens to your track.
Based in Montana
Bozeman Yellowstone International flies direct to both Los Angeles and Nashville when a room is worth being in. The rest of the time there are mountains out the window and very little noise — which turns out to be a good condition for listening carefully.
Sync only
Verilux licenses your music for use under picture. That is the whole grant. We never take ownership of your recording or your song, never distribute or release them, and never take a cut of your writer’s share. If you want us to administer your US publishing we can, on one option, and only if you ask — you keep owning it and it comes back to you at the end of the term. A narrow grant is a fast grant.
What being new actually means
Clearance answers and quotes come back fast, because one person handles them and there is nobody to check with. That is how we work and you should hold us to it. It is not a guarantee, and we don’t dress it up as one. What we will never promise is a placement or a dollar figure. No one representing music can promise either, and anyone who does is telling you something about themselves.
How we work
Four things we do the same way every time.
- Clean chain of title
- Every represented track is one-stop or easy-clear, is not retitled, and has never been registered with any PRO under an alternate title. If either the master or the composition is exclusively committed elsewhere, we pass on it.
- Direct pitching
- We pitch directly to music supervisors, ad agencies and creative directors. No middle-tier resale, no anonymous marketplace listing, no third party quoting your music without your knowledge.
- Transparent accounting
- The artist’s share of a sync fee goes out within 30 days of cleared funds, with a statement naming licensee, project, territory, media and gross fee — so the split can always be checked against the number it came from. Publishing royalties work to a different clock, because the societies do: those are paid quarterly, within 45 days of each quarter closing.
- Delivered the way you already work
- A shortlist arrives as a streamable link your team can play, download and pass around without making an account or asking us for a password. Prefer plain files in a folder? That is fine too — we will send whatever drops into your process with the least friction.
Get in touch
Two doors, one desk.
Buyers: send the brief and we will come back fast. Artists: read the terms, then apply.
I got rhythm, I got music —“I Got Rhythm” · George & Ira Gershwin, 1930 · public domain
who could ask for anything more?