Tracksynk vs Epidemic Sound: real music with an edge.
Epidemic Sound is the giant of creator music — vast, fast, and frictionless. But there's a trade behind it: Epidemic owns the music, and the artists who made it don't. Tracksynk runs the opposite model — independent artists keep their masters and earn 75% of every licence — and the catalogue sounds like it. Hand-picked, characterful, licensed in a click. Here's the honest comparison.
We don't curate by genre. We curate by feel.
Raw, edgy, alive — and from there, scrappy garage-punk to dreamy cinematic to warm feel-good folk. Every track made by a real artist with something to say. The stuff stock libraries don’t have.
Subscription libraries optimise for volume and broad-safe usability — which quietly filters out anything with grit, character, or risk. Tracksynk goes the other way: every track is hand-picked from a real, named, independent artist, chosen on feel and raw connection rather than genre. We’re not snobs about style — classic and mainstream sounds are welcome — the only bar is that the artist is brilliant and the track means something.
All the convenience, none of the trade-off.
Epidemic’s pitch is friction-free music for creators — and Tracksynk matches it on ease. IndieSynk and StudioSynk licences are instant; for broadcast, cinema or a major campaign, CustomSynk quotes are usually turned around within 48 hours, drafted and cleared with the artist. The difference isn’t speed — it’s that the artist still owns their work and gets paid every time it’s used.
Built by musicians and developers. Owned by the artists on it.
Tracksynk isn't a corporation sitting on a catalogue. It was built by musicians and developers to give the power back to the people who make the music. Artists own their masters, set their own prices, and are paid directly — Tracksynk never touches their money. License here and it goes straight to the person who made it.
Who owns the music (the big one)
On Tracksynk the artist keeps their master and earns 75% of every licence. On Epidemic, the platform owns the music and the artist never sees a per-use cent.
The artist owns their master, sets their price, and takes 75% of every licence sale — published on the track page. Tracksynk is a limited agent, never an owner. When the music gets used, the artist gets paid.
Pricing model
Pay per track and own that licence outright — or pay every year to keep licensing anything new.
One-time per-track pricing. Buy the licence, keep it, no ongoing fees, no plan to maintain. Right for projects with discrete music needs — a film, an ad, an album.
The big stuff: broadcast & sync
Bigger uses need a real licence — and an artist who actually shares in it. CustomSynk quotes come back, drafted with the artist, usually within 48 hours.
CustomSynk for broadcast, cinema, streaming and major campaigns — a direct quote negotiated with the artist, who keeps their master and shares in the deal. Drafted and cleared end to end, usually within 48 hours.
What's the real difference between Tracksynk and Epidemic Sound?
Does Epidemic Sound pay its artists?
Is Tracksynk's catalogue as big as Epidemic's?
When Epidemic Sound is the better call.
If you publish constantly and want one flat subscription covering near-unlimited safe, cleared tracks for daily content, Epidemic’s scale and convenience are hard to beat. That’s what it’s built for. Tracksynk is for when you want music with character, made by an artist who still owns it and gets paid when you use it.
Music the artist still owns.
Browse the catalogue, pick a track, license it in a click, keep it forever. No subscription, no buy-out, no AI filler — and 75% goes to the artist who made it.