Sync & Music Branding developing major market potential

In addition to more conventional ways of generating revenue with music, there are two means that have yet to be widely explored: synchronization with audiovisual projects and association of music with brands as part of a sensorial marketing strategy called music branding.

The countries that most exploit the sync market are the USA, the UK and France, which have developed this area more and more. Compared to them, Brazil had sync revenue of just USD 1.1 million. This accounts for 0.5% of total revenue in the Brazilian recording industry in 2016, equal to USD 229.8 million according to information from Pró-Música Brasil. The sync market was down by 8.4% compared to 2015.

Last year, the USA saw earnings of USD 7.7 billion, with USD 204.3 million in synchronization licensing, accounting for 2.65% of the American recording industry. While the United Kingdom took in USD 1.2 billion, with USD 27 million in synchronization, representing 2.25% of the market.

In relation to these figures, Brasil, Música & Artes (BM&A), through its Brasil Music Exchange (BME) program, developed in partnership with the Brazilian Trade and Investment Promotion Agency (Apex-Brasil), put together the Brasil Music Summit, a structured initiative to categorically foster this kind of business.  The event is being held from December 4 to 5, at Unibes Cultural, in São Paulo.

There is no data on the Music Branding market in Brazil. However, Leandro Ribeiro, BME Project Manager, believes that building ties between companies and brands that invest in publicity can increase knowledge and opportunities not only in Music Branding, but also in the Sync market, with benefits across the chain. “We want to use the BMS to bring professionals closer together and generate future business. We also want Brazilian participants, whether they are companies or artists, to sense how important these topics are abroad and how they are handled in other countries as well,” says Leandro.

This area is aimed at helping a brand to build a consistent relationship with its target audience, through work that ranges from soundtrack production, sound identity and consulting to music curation for events, stores, physical or digital environments and more.

A market with ample opportunity
The study done by Pró-Música Brasil also found that the sync market accounts for 2.3% of revenue from music currently recorded in the world, which means USD 370 million out of a total of USD 15.7 billion. According to Mario Di Poi, a producer at Inputsom Arte Sonara, the “Paid TV Act” (12.485/2011) drove growth in this market. “The requirements of this law have caused demand for Brazilian content on TV channels to skyrocket, resulting in demand for music for this content. The music production chain is increasingly prepared to merge with the audiovisual chain,” says Mario.

In effect since 2012, the law stipulates that paid channels have to broadcast at least 3 hours and 30 minutes each week of nationally produced content during primetime, and half of this content must be created by independent companies. In 2016, cable TV channels showed more national content than the minimum required by law, according to a report produced by Ancine (Brazil’s National Film Agency).

In addition to revenue from music licensing, sync business has a direct impact on revenue from performing rights. In 2016, the global figures represented USD 2.15 billion USD 2.15 billion, totaling 13.7% of total revenue in the recording market and resulting in a 7% increase in relation to 2015. In Brazil, USD 84 million in revenue comes from copyrights. Leandro explains that, particularly in the case of the sync market, good projects developed here in Brazil can also serve as export revenue streams. “Many audiovisual projects are broadcast abroad – as is the case with TV shows, movies, cartoons – in other words, even if the entire production was done here in Brazil, once it is licensed and executed outside of Brazil, everyone involved still profits from performing rights,” he says in conclusion.


In an effort to provide content and generate business for music market professionals in the synchronization and music branding areas, BME (Brasil Music Exchange) has created the Brasil Music Summit. The event is being held December 4 and 5 at Unibes Cultural and includes talks, workshops, showcases and business talks aimed at driving the country’s position within the international music market.

The Brazilian recording industry had US$ 229.8 million in revenue in 2016. When it comes to the internet, Brazil is not far from the top, as the fifth largest market in terms of digital users, with around 102 million people. Brazilian Netflix users are ranked 10th among “binge racers,” a term defining subscribers that watch an entire season of a series during the first 24 hours after it is released. On YouTube, the country is ranked six for video views.

In light of these figures, BME looked at the potential of the Brazilian recording industry within the business chain and found that the Sync and Music Branding areas have yet to be widely explored by Brazilian executives and artists. According to Leandro Ribeiro, BME Project Manager, the event is important to grow this kind of business among Brazilian professionals. The idea is to kick-off this subject, bringing in business opportunities, networking and knowledge. “In everything related to these topics here, we are still in our infancy, so it is a start for us to reap results in the long term,” says Leandro.

Sync & Music Branding

The USA is one of the largest sync markets. In the annual report from the RIAA – Recording Industry Association of America, the organization says that the country took in USD 204 million in 2016. Other countries also had significant revenue during this same period, such as France, with earnings of USD 18 million, and the UK, with USD 27 million. According to Pro-Musica Brasil (Associated recording industry producers), Brazil gained just USD 1.1 million in synchronization licensing for audiovisual projects. Sync revenue in Brazil fell by 8.4% compared to 2015, while other countries saw growth of 2% to 3%.

Brazil does not have any data on the music branding market, but Leandro says that this is a business type with potential for growth. “We don’t have figures for comparison, but we can clearly see how much the market could develop based on the hardships faced by event producers to get sponsorships, for instance. Brazil is a country of continental proportions and has major potential to exponentially increase these opportunities both domestically and globally,” according to Leandro.

The event’s program includes participation by a variety of professionals, such as Samantha Schilling, Creative Director at Reel Muzik Werks; Mario Di Poi, Executive Director at Inputsom Arte Sonora; Geoff Siegel, founder and CEO of Fundamental Music; Joel High, CEO at Creative Control Entertainment, and other guests.

The Brasil Music Exchange (BME) is a project to help export music that has been developed since 2002 through a partnership between Brasil Música & Artes (BM&A) and the Brazilian Trade and Investment Promotion Agency (Apex-Brasil). To do this, various activities are held to promote business and international image.