← Blog · 14 Oct 2026

Non-Exclusive Music Libraries for Sync: The 2026 List

Written by Luke Tyler, composer

A non-exclusive music library lets you place a track with it while keeping the right to license that same track anywhere else. You keep your copyright, the library pitches or sells your music, and you split the fee. Below are six that take submissions from independent producers, with their current terms as they publish them.

I keep my own catalogue non-exclusive, so I can license tracks direct to agencies and brands as well as through other routes. This list is neutral. I've linked each library's own terms, because they change, and you should read the latest version before you sign anything.

Exclusive or non-exclusive: what's the difference?

An exclusive library is the only place your track can be licensed. A non-exclusive library is one of several. Each model has trade-offs.

Exclusive libraries

Exclusive libraries often pay more per placement and work harder to pitch each track. In return, you can't place that track anywhere else. As the Music Library Report guide to exclusive and non-exclusive libraries explains, exclusive libraries usually control the licensing and register the track under their own publishing company.

Non-exclusive libraries

Non-exclusive deals let you spread one track across several libraries, pitch it yourself and sell it direct. The same guide lists the downsides: placements that overlap, and metadata confusion when several libraries register the same audio.

A word on retitling

Some non-exclusive libraries give your track a new title, or add a code to it, so they can register it as their own version. That lets them collect the publisher's share of performance royalties on their placements. But the audio is the same, so fingerprinting systems can credit the wrong title or publisher. Ask each library how it registers tracks before you upload.

6 non-exclusive music libraries for sync licensing

These are in no particular order. Terms were checked in October 2026, mostly from each company's own pages.

1. Songtradr

Songtradr is a large licensing and distribution platform with an artist sign-up. Its commission page says that on its Pro subscription it takes 20 percent of all licence fees, so you keep 80 percent. It also says it takes no share of your royalties and doesn't retitle your works.

Your share: 80 percent of licence fees on Pro.
Retitling: none, according to Songtradr.
Worth knowing: the subscription has a cost, so check the current price on its site.

2. Pond5

Pond5 is a stock media marketplace that sells music next to video and images. Its payout overview says music contributors receive a 30 percent royalty share. Exclusivity only changes the rate for video. Payouts are monthly once you reach $25.

Your share: 30 percent of each music sale.
Model: a marketplace, where buyers search and license tracks themselves.
Worth knowing: you set up and tag your own tracks, so good keywords matter.

3. AudioJungle (Envato Market)

AudioJungle is Envato's music marketplace. Envato's author fee page now says the author fee is always 50 percent of your item price. Envato also ended its exclusive author option in July 2026, as this write-up of the change sets out, so you're free to sell the same items elsewhere.

Your share: 50 percent of the item price.
Model: a marketplace with set licence types.
Worth knowing: the change is recent, so read Envato's current author terms for music before you upload.

4. Audiosocket

Audiosocket is a curated library that licenses music for film, TV, ads and online video. Its artist sign-up page offers both deals. The non-exclusive deal is 25/75: you get 25 percent of the upfront fee and 100 percent of the writer's share of royalties. The exclusive deal is a 50/50 split of fees and backend royalties.

Your share (non-exclusive): 25 percent of upfront fees, plus your full writer's share.
Model: curated, so you apply and they choose.
Worth knowing: you can ask to be considered for the exclusive roster when you apply.

5. Crucial Music

Crucial Music pitches tracks to film and TV clients. Its artist FAQ says you grant it only a non-exclusive right to pitch and license your music, and it pays you 50 percent of the fees it receives. It doesn't retitle as such. Instead it adds a catalogue number to the title and registers that with your performing rights organisation, collecting the publisher's share while you keep the writer's share.

Your share: 50 percent of licence fees.
How to submit: up to three originals and three covers to start, as 128k MP3s.
Worth knowing: you can't work with it if you have an exclusive label or publishing deal.

6. AudioSparx

AudioSparx is a long-running stock music and sound effects library. Its artist participation page says your licence to it is non-exclusive, and that it doesn't charge an application or subscription fee. Earnings are on a revenue-share basis, with quarterly reports and payment once you reach $25.

Your share: a revenue share. Check the current percentage in its artist agreement.
Fees: none to join, according to AudioSparx.
Worth knowing: it offers optional publishing administration, but you can handle your own.

How to choose the right library

Pick based on how each one finds buyers, and what it does with your royalties. The headline split is only part of the deal.

Marketplace or pitching? Marketplaces wait for buyers to search. Curated libraries pitch to music supervisors. Both can work, but they suit different tracks.
Who collects what? Check whether the library takes a publisher's share, and whether it retitles.
What happens to Content ID? If a library or distributor registers your tracks with YouTube Content ID, buyers from other libraries can get claims. Ask how each one handles this.
Can you leave? Look for how to remove tracks, and how long a licence keeps running after you do.
Read the latest terms. Splits and rules change. The figures here are what each company published in October 2026.

Getting your tracks ready for a library

Libraries want music that's easy to use under picture. That means clean mixes, useful edits and full details.

Clean, finished mixes. No samples you haven't cleared, and a mix that holds up in mono. My guide to stereo imaging in Ableton covers width, depth and mono checks.
Alternate versions. A full mix, an instrumental, a short edit and a 30-second cut are a good start.
Stems. Drums, bass, chords and melody as separate files help editors fit the music to a scene.
Metadata. Genre, mood, tempo, key, instruments, writers and splits. Good tags help buyers find you.
PRO registration. Join a performing rights organisation, such as PRS for Music in the UK, so you're paid when your music is broadcast.

Where libraries fit next to licensing direct

Libraries are one route. Licensing direct is another, and a non-exclusive catalogue lets you do both. When an agency or brand comes straight to the composer, the composer can cut a new edit, send stems and agree terms in one place.

That's how my publishing catalogue works. It's non-exclusive, with finished, cleared tracks available to libraries, publishers and A&R. If you're on the buying side, my music for advertising page has tracks you can license from me directly.

For the other side of the deal, see my guides on how to license music for an advert and how to license music for a film or documentary.

FAQs

What is a non-exclusive music library?

It's a library that licenses your music without owning the only rights to it. You can place the same track with other libraries, or license it yourself. You keep your copyright.

Can I put the same track in more than one library?

Yes, if every deal is non-exclusive. Check each agreement first, and watch for retitling and Content ID, which can cause clashes when the same audio is in several places.

How much do non-exclusive libraries pay?

It depends on the library and the licence. Published shares range from 25 to 80 percent of the fee in the list above. Most also let you keep your writer's share of performance royalties.

Do I need to join a PRO to work with music libraries?

You don't always need to, but you should. A PRO, such as PRS for Music in the UK, collects your performance royalties when your music is broadcast. Libraries often expect you to be a member.

Is exclusive or non-exclusive better?

Neither is better for everyone. Exclusive deals can pay more per placement and come with more pitching. Non-exclusive deals give you freedom to place a track in several places and license it yourself.

This is guidance, not legal advice. Read every agreement in full, and get advice if anything is unclear.