Why we built Underscore
Sync libraries have spent a decade taking commissions, gating contact, and burying artist masters under exclusive deals. Underscore exists because none of that is necessary anymore.
There is a simple, repeatable pattern in the music industry: someone with a connection to a budget meets someone with a song. A deal happens. Money changes hands. The artist who made the song is rarely the one in the room.
Sync libraries have institutionalized this pattern. They take 20-50% of every placement. They demand exclusivity. They sit between the artist and the supervisor and act as a tollbooth. In 2026, with the tools we have, that's just a habit. Not a necessity.
What changes here
Underscore charges artists a flat monthly subscription — Free, $12.99 Creator, or $97 Lifetime one-time — and takes zero commission on placements. When you license a track on Underscore, the entire fee goes to you.
Supervisors browse a catalog ranked by transparent, AI-weighted sync-fit scores. Not by who paid for placement. Not by who has the slicker rep. By whose music fits the brief.
Direct contact, no middleman
When a supervisor finds your track, they message you. Directly. The reply lands in your inbox AND your email — with the supervisor's email as the reply-to, so you can take the conversation off-platform if you prefer. We don't insert ourselves into negotiations.
Some artists prefer to close deals inside Underscore. Some prefer to drop into a quick call. Both work. Both are free.
The 48-hour industry trial
Supervisors and producers can browse the entire catalog free for 48 hours. No credit card. No friction. Long enough to evaluate the platform with a real project. After that, paid subscription kicks in — same flat fee, no per-track or per-license cost.
100% artist ownership, always
You retain every right to your masters and compositions. Underscore never claims publishing, admin, or any cut of your IP. You can leave with one click and your music goes with you.
We built this because we believe the people who make the music should be the people who profit from it. That's the entire pitch.