Sync (or 'synch')
Since the rise of streaming music from internet based companies such as 'Spotify', 'Amazon' or 'Youtube' (and many others), the opportunities to make a living - or even basic subsistence - from writing music have dwindled. Streams often pay as little as $0.0004 , so you need an awful lot of plays to even buy a coffee from the proceeds. Really, unless you are an artist with a massive following, it is not a way to make a living.
Many bands and single artists turned to selling merchandise, such as tee shirts, hoodies and mugs via their streaming websites. Others tour relentlessly, although that can often result in profits being eaten up by touring, equipment and staff costs.
One area that can be more lucrative is by providing music or songs for film, television or advertising. This isn't an easy area to break into, though. Between the artist and the music supervisor on a film or TV programme or the advertising executive, there usually lies at least one or more 'gatekeeper' whose function is to whittle down the writers offering material to those that the 'gatekeepers' consider are most suitable.
Long ago, music supervisors contacted artists directly , either asking them to write a bespoke piece or going through their catalogue for suitable material. To a limited extent, this still happens but it is much more likely for there to be at least one third-party in between. The benefit of this direct contact was that the supervisor could come across something that fitted their requirements, that they hadn't originally thought of.
A few writers get the luxury of seeing the footage that requires music but this has become less common in recent years.
Much of the time, it is the 'gatekeepers' that provide a brief - These are often extremely vague, although sometimes example songs are provided, which at least give the writer a fighting chance. More often than not, the briefs use phrases such as 'energetic modern pop' or '80's classic nostalgia' which really don't help the writer wanting to pitch for the job.
Another common downside of sync is that deadlines are often short - I've been given briefs with a deadline only an hour or two away - so if you don't already have a finished piece ready to roll - it is next to impossible to meet the brief.
Commonly, briefs will call for music with (and without) lyrics, so that the supervisor has options. Thus in writing for sync, you need to have versions with and without lyrics and also versions of differing length. This is do-able if the deadline isn't too close but next to impossible if the deadline is an hour or two away.
With all that said, sync can be a way to make a decent living... sometimes :) Fees very widely. I've seen three to five minute briefs ranging from $50 to $100,000.
