On Tuesday, February 10 at 2:30 PM PST, the California Copyright Conference (CCC) is hosting a provocatively titled virtual panel: “Is Sync Dead? A Sync State of the Union in 2026.” It’s less doom-and-gloom, more industry group chat with the people who actually make placement decisions for film, TV, ads, and streaming giants.
At the center of the conversation is moderator Sherry Orson, Chief Creative Officer of Star Vibe Group—a veteran publisher and licensor whose résumé includes everything from major label artist placements to sync deals across Netflix, Hulu, Amazon, HBO, and Paramount+. Orson frames the discussion with a line that hits uncomfortably close to home for many musicians:
“Change is constant—industries expand, contract, and evolve. Today, we wanted to open up an honest conversation about the current landscape of sync placements across media, notably fewer opportunities for sync placements and what 2026 is really shaping up to look like.”
Translation: the game isn’t over, but the rules may have changed.
This isn’t a theoretical debate. The panel is stacked with music supervisors, A&R vets, and licensing executives who live inside the sync ecosystem daily.
Peter Davis (Tunestrone) brings a reality-TV and film pedigree that includes The Real World, The Challenge: All Stars, Keeping Up With The Kardashians, and Sundance-recognized film work. He’s also a four-time Guild of Music Supervisors nominee, which in sync terms is like being Oscar-adjacent.
Jonathan Finegold (Fine Gold Music) is the rare hybrid of label A&R, academic instructor, and hip-hop historian. His career spans working with Snoop Dogg, Wyclef Jean, Pitbull, Fat Joe, and managing GRAMMY-winning producer Lenky (yes, that Diwali Riddim). He’s equally comfortable talking Billboard charts and classroom theory—a useful combo when explaining where sync fits into modern revenue streams.
Jonathan Lane (Clearly Music Services / Slipstream Music) is the behind-the-scenes architect many brands quietly rely on. His company has become what insiders call a “secret weapon” for advertising and film marketing music. He also runs a free mentorship program that’s helped 300+ emerging artists, which means he’s hearing the same questions indie musicians are asking worldwide.
Then there’s Amani “Burt Blackarach” Smith, whose résumé reads like a streaming platform’s homepage. From Netflix’s Oscar-nominated The Perfect Neighbor to ABC’s The Wonder Years and collaborations with Chuck D, Prince, Jay-Z, and Nas—he represents the intersection of artistry and licensing at the highest level. He also leads Salamani Music Publishing, a historic Black-owned publishing house founded in 1971.
For years, sync placements were marketed as the golden ticket for independent artists—the mythical “one placement changes everything” narrative. But streaming economics, content saturation, A.I. music tools, and shrinking ad budgets have complicated that dream.
This webinar promises an honest temperature check rather than motivational fluff.
Registration Details
- CCC Members: Free
- Non-Members: $5
- Registration Deadline: February 10 at 1:30 PM PST
- Register here
