If you make music and you want it in a show, a film, or a game, you eventually face a strategic fork. Do you push your catalog out into the world and let intermediaries place it for you, or do you go straight to the people who actually choose the music? That Pitch and SyncPlacement sit on opposite sides of that fork. They share a goal, placements, but they reflect two genuinely different philosophies about how an independent artist should chase sync.
The honest question underneath most comparisons is this: do you want a hands-off service that distributes your tracks for you, or a tool that puts you directly in front of the supervisor who fits your sound? Neither is wrong. They suit different artists, different catalogs, and different temperaments. This piece lays out what each one is, where each genuinely shines, and a recommendation you can act on today.
What That Pitch actually is
As of 2026, per their site, That Pitch is a service that distributes your music into a network of 100 plus sync libraries and matches your tracks against the briefs those libraries receive. In plain terms, you upload your catalog once, and That Pitch works to get it circulating across a broad set of libraries so that when a brief comes in for, say, a warm indie-folk cue, your matching tracks are in the pool of candidates. It is a distribution and brief-matching model. The heavy lifting of getting your music in front of many library catalogs is handled for you.
That is a real and valuable thing, and it is worth saying so plainly. Building relationships with libraries one at a time is slow, and many independent artists never get past the first few. A service that pushes your catalog into a wide network at once removes a large amount of legwork. If you have a deep, sync-ready catalog and you would rather make more music than write outreach emails, the appeal is obvious.
The structural characteristic to understand is that it is an intermediated, mostly passive model. Your track typically sits inside third-party library catalogs under those libraries' terms, often on a nonexclusive basis, and the brief-matching happens through those intermediaries rather than through a direct line to the supervisor. You are, by design, one step removed from the decision maker. That distance is the trade-off you accept in exchange for the convenience.
What SyncPlacement does differently
SyncPlacement approaches the same goal from the opposite direction. Instead of pushing your catalog out into libraries, it starts from your music and works backward to the people. You search by genre, mood, reference artists, or a specific show, film, or game, and SyncPlacement surfaces the music supervisors behind placements that match your sound, along with how to reach them. The contact data is relevance-matched, tied to real placement history, not a static roster and not a library queue.
The premise is simple: the most useful name is not a random supervisor and it is not a library catalog, it is the supervisor who already placed something close to what you make. When you can see that a particular supervisor has repeatedly chosen moody alt-R&B for prestige drama, and you make moody alt-R&B, you are not guessing anymore. You are pitching the right person about the right kind of music, and you own that relationship from the first email. That is the entire design intent behind SyncPlacement. If you want a primer on the direct approach, our guide on how to contact music supervisors walks through the outreach itself.
The core difference: distribution versus direct discovery
Here is the cleanest way to think about it. That Pitch is a way to be found. SyncPlacement is a way to find. With a distribution service, your catalog sits in many libraries and you hope the right brief comes along and your track gets selected from the pool. With direct discovery, you identify the exact supervisor who fits your sound and you reach out before any brief exists, building the relationship that gets you considered for projects that never become public briefs at all.
That matters because a large share of placements never run through an open brief. They happen because a supervisor already knows an artist, already has a relationship, and reaches into a trusted shortlist when a scene needs music. A passive library model, by definition, cannot put you on that shortlist. Direct discovery can, because it is built around the relationship rather than the queue. If you want to understand how those direct placements get made, our breakdown of how to get your music placed in films, TV, and video games in 2026 goes deeper.
Direct discovery only pays off if you actually do the outreach. A perfectly matched supervisor contact does nothing if the email never gets sent, the pitch is generic, or your catalog is not sync-ready with clean instrumentals and stems. That Pitch's biggest genuine advantage is exactly here: it does not depend on you being disciplined about follow-through. If you know you will not run an outreach campaign, a hands-off distribution model may simply place more of your music than a discovery tool you never open.
Side-by-side comparison
| What you care about | That Pitch | SyncPlacement |
|---|---|---|
| Core model | Distributes your tracks into 100 plus sync libraries and matches briefs (per their site) | Relevance-matched discovery of the supervisors behind matching placements |
| How placements happen | Intermediated through libraries and incoming briefs | Direct outreach to the supervisor, relationship is yours |
| Effort required from you | Low, mostly hands-off after upload | Higher, you pitch and build the relationship yourself |
| Who owns the relationship | Usually the library, often nonexclusive terms | You own the contact and the deal |
| Targeting your exact sound | Matched to library briefs as they arrive | Supervisors ranked by placements that match your sound |
| Pricing (as of 2026) | Varies, check thatpitch.com directly | Tiered, 29.99 to 69.99 dollars per month, no revenue share |
| Best mental model | A distribution network that places your catalog for you | A search engine for the right supervisors to pitch |
| Best for | Artists with deep, sync-ready catalogs who want a hands-off, set-and-forget channel | Artists and small teams who want direct supervisor relationships and control over their sound and deals |
Both can be worth the money. The split is not about quality, it is about how you want placements to happen: have your catalog distributed and wait to be matched, or go directly to the decision maker yourself.
Find the supervisors who actually fit your sound
Search by genre, mood, reference artists, or a specific show, film, or game, and get music supervisor contacts ranked by real placement relevance. Plans start at 29.99 dollars per month with no revenue share.
Why control and ownership tilt the math
There is a quieter difference that often matters more over a career than any single placement: who ends up owning the relationship and the terms. In a library-distribution model, your track lives inside a third-party catalog, frequently on nonexclusive terms, and the supervisor knows the library, not you. That is fine for a one-off cue. It is less ideal if your goal is to become a supervisor's go-to artist for a particular vibe, because the next opportunity flows back to the library, not your inbox.
With direct discovery, every relationship you build is an asset you keep. The supervisor who places one of your songs has your email, knows your name, and can come back to you directly for the next project. Over a year of consistent outreach, that compounds into a small network of supervisors who actually know your catalog. If you are weighing deal economics too, our explainer on how sync licensing fees work breaks down where the money actually lands, and why owning the relationship affects what you can negotiate.
Who That Pitch is genuinely best for
That Pitch is a reasonable, even strong, choice in specific situations. If you have a large, sync-ready catalog, dozens or hundreds of cleanly produced and tagged tracks, a distribution model lets all of that work passively across many libraries at once, which is hard to replicate by hand. It is also the right fit if you are honest with yourself that you will not run a disciplined outreach campaign. A hands-off channel that places some of your music beats a discovery tool you never log into. And for producers who churn out high volumes of library-friendly instrumental cues, distribution to many libraries is simply the natural distribution method for that kind of catalog.
Who SyncPlacement is best for
SyncPlacement is the better fit when your real goal is targeting and ownership. That describes most independent artists, producers, and small labels with a focused catalog and a distinctive sound. When you have twenty or thirty songs in a specific lane, the question is not how do I get into 100 libraries, it is which handful of supervisors fit my music and are worth a careful, personalized pitch that I control. Starting from your sound and getting matched supervisors back is built for exactly that, and the direct relationship you create is yours to keep. If you want to go even deeper on strategy, read our pillar guide on the best sync licensing strategy for 2026.
An honest recommendation
Pick based on your temperament and your catalog, not on a feature checklist. If you have a deep, sync-ready catalog and you genuinely prefer to stay hands-off, a distribution service like That Pitch is a sensible buy and there is no reason to talk you out of it. If you want direct relationships with the supervisors who fit your sound, control over your deals, and a network you keep, relevance-matched discovery will serve you better over time. Plenty of serious catalog owners run both: a passive distribution channel for breadth and SyncPlacement for targeted, relationship-driven outreach per release. If you can only fund one, let your honest answer to "will I actually pitch?" decide. If you also want to see how SyncPlacement stacks up against static contact lists, compare our takes on SyncPlacement vs The Sync Report and SyncPlacement vs a supervisor directory.
Go direct to the supervisors behind your favorite placements
Stop waiting in a library queue. See exactly which music supervisors fit your sound, and how to reach them, with a plan that starts at 29.99 dollars per month and never takes a cut of your sync fee.
Frequently asked questions
What is the difference between SyncPlacement and That Pitch?
As of 2026, per their site, That Pitch is a service that distributes your tracks into a network of 100 plus sync libraries and matches your music to incoming briefs from those libraries. You upload, and the network does the placing through intermediaries. SyncPlacement works the other way around: it starts from your sound and surfaces the actual music supervisors behind the shows, films, and games that match you, plus how to reach them. One pushes your catalog out into libraries on your behalf. The other helps you build direct relationships with the people choosing the music.
Is That Pitch a good way to get sync placements?
For the right artist, yes. That Pitch and similar library-distribution services are a sensible fit if you want a hands-off model and would rather not do outreach yourself. You upload your catalog, it gets distributed to many libraries, and you wait for brief matches. The trade-off is distance: you usually do not own the supervisor relationship, the deals are often nonexclusive library placements, and a third party sits between you and the decision maker. If you want a direct relationship with the supervisor, a discovery tool fits better.
How much does SyncPlacement cost in 2026?
SyncPlacement uses a tiered monthly subscription. As of 2026 the Starter plan is 29.99 dollars per month, Catalog is 49.99 dollars per month, and Studio is 69.99 dollars per month. There is no revenue share on placements you book, because SyncPlacement is a research and discovery tool, not an agent or a library that takes a cut of your sync fee. For That Pitch pricing, check thatpitch.com directly, since library-distribution services price in different ways and terms change.
Do I keep my publishing and the supervisor relationship with each tool?
With a direct-discovery tool like SyncPlacement, yes. You find the supervisor, you reach out, you negotiate, and the relationship and the deal terms are yours. With a library-distribution model, your track often sits inside a third-party catalog under that library agreement, and the supervisor relationship belongs to the library, not to you. Neither approach is wrong, but if owning the contact and the relationship matters to your long-term career, that is a meaningful difference to weigh.
Can I use That Pitch and SyncPlacement together?
You can, and the two are genuinely complementary. A distribution service can keep your catalog passively circulating in libraries for incoming briefs, while SyncPlacement powers your active, targeted outreach to the specific supervisors who fit a particular release. Many serious catalog owners run a passive channel and an active channel in parallel. If your budget only stretches to one, pick based on whether you would rather be hands-off or hands-on.
Which is better for an independent artist with a small catalog?
For an independent artist with twenty or thirty songs in a defined sound, direct discovery usually produces sharper results, because the hard part is not getting your music into many libraries, it is knowing which few supervisors actually fit your sound and pitching them well. SyncPlacement is built around that targeting question. That Pitch tends to make more sense for artists with larger, sync-ready catalogs who want volume and a hands-off distribution model rather than to manage outreach themselves.
Do these tools guarantee a placement?
No. Neither a distribution service nor a discovery tool can guarantee a placement, and you should be cautious of anyone who promises one. Placements depend on the music, the timing of real projects, and the relationship. SyncPlacement shortens the research by telling you exactly which supervisors fit and how to reach them. That Pitch shortens the legwork by distributing your catalog for you. In both cases the sync-ready music and the follow-through are still on you.