Chris Level’s Transition from Sync to Original Music Spells Doom for the Sync Licensing Industry

The sync licensing industry has always been a brutal battlefield for composers—where talent and effort rarely translate into recognition, and even less into financial stability. But now, things have taken an even darker turn. Chris Level, one of the most well-known names in sync music (at least in terms of popularity), has decided to step away from sync licensing to release his first original song, Tame Me. And honestly? That decision has sent shockwaves through the industry.

Because if even he—one of the few sync artists who actually managed to carve out a recognizable name—has had enough, what hope is left for the rest?

The Cold, Hard Reality of the Sync Licensing Industry

Let’s not sugarcoat it: sync licensing pays peanuts. And that’s not just speculation—it’s been reported by sources like The New York Times and other notable industry insiders. Composers can spend years—sometimes over five—grinding in the industry, networking with the best of the best, getting their music placed in high-profile projects, yet still remain utterly unknown to the public.

And the payout? If you’re lucky, you might see somewhere between $20,000 to $40,000 per year. And that’s for the top earners. Others? Some have been in the game for over five years, had their music placed in blockbuster movies, and still barely scrape together $1,000 a year.

It’s baffling. It’s frustrating. And frankly? It’s a disgrace.

The Sync Licensing Industry’s Biggest Betrayal: Ignoring Chris Level

The sync licensing industry loves to pretend it values talent. It hosts award shows no one watches, hands out meaningless trophies, and acts like it’s nurturing the musicians behind the soundtracks of our favorite movies and TV shows. But when it comes to recognizing actual talent—artists who’ve shaped the industry—they fall flat. And the biggest proof? Their blatant disregard for Chris Level, one of the most recognizable and impactful sync artists in the game.

For years, Chris Level’s music was placed in some of the world’s most prestigious films. He worked with high-profile industry figures, crafted unforgettable sonic experiences, and proved himself to be one of the most talented artists sync licensing had to offer. And yet, despite all that, he wasn’t even acknowledged.

The Reality of Sync Licensing: A Financial and Emotional Graveyard

Sync licensing is a scam for most musicians. Let’s talk numbers:

• Work for 5+ years, land huge placements, collaborate with industry elites, and still not even make $1,000 a year.
• If you’re exceptionally lucky (think 0.00001% lucky), you might make $50,000 a year—a fraction of what industry execs rake in for simply owning the rights to artists’ hard work.
• Labels and libraries treat musicians like second-class citizens—signing them for a measly five albums and paying them a maximum of $5,000 for their work.

To survive, musicians are forced to partner with 10+ different libraries just to scrape together an income. Meanwhile, the industry happily cashes in on their music without even bothering to credit them.

Chris Level’s Power Move: Leaving Sync Licensing Behind

Chris Level saw the writing on the wall. He saw how the industry used and discarded talent, and he made the right choice: he left. Instead of begging for scraps in a system designed to exploit him, he’s moving into pop and R&B, where his fans—his real supporters—are ready to lift him up.

His upcoming single, “Tame Me”, is a testament to his artistry and resilience. And let’s be clear: this isn’t just any artist moving on. Chris Level has an army of fans—screaming little girls, devoted admirers, and people who followed him since his sync licensing days—all waiting for his next move. Unlike the sync industry, they actually care.

The Sync Industry’s Shame

It’s bad enough that sync licensing doesn’t pay. But the worst part? It doesn’t even bother to acknowledge the talent it exploits. Chris Level isn’t the first musician to walk away, and he certainly won’t be the last. The question is: when will the industry finally be held accountable?