Ron Broitman, Warner Music’s president of global sync. Photo Credit: WMG
Less than one year after overhauling Warner Chappell’s sync team, Warner Music Group (WMG) has announced a wider sync-side reorganization designed to streamline operations across recorded music and publishing.
The major formally disclosed its revamped sync-department structure this morning, pointing first to the promotion of Ron Broitman to president of global sync. In the LA-based post, the WMG vet of nearly 17 years “will lead WMG’s sync teams around the world,” the company indicated.
That includes overseeing the relevant employees at Atlantic Music Group, ADA, Warner Records Group, and Warner Chappell alike, per the announcement.
Meanwhile, with Broitman reporting to Warner Music COO Tom Corson (and receiving “additional strategic oversight from” Warner Chappell head Guy Moot), the newly minted division will handle sync pitching, marketing, licensing, admin, and data analytics, WMG communicated.
And in theory, the one-stop access point will make for “a simpler, more efficient licensing experience,” accelerating turnaround times and expanding “pitching reach across WMG’s roster.”
“Unifying our teams makes us a stronger partner for our clients,” Broitman elaborated. “We are making it easier and faster to license our entire global library, which means more and bigger wins for our artists and songwriters. I’m grateful to Tom and Guy for their trust and support, and I’m energized to lead this team into its next chapter.”
In remarks of his own, Moot touted the “ambitious growth move” while also pledging to continue affording Warner Chappell songwriters “the care, focus, and creative pitching they deserve.”
“Bringing music publishing and WMG’s recorded business together under one roof is an ambitious growth move that sets us apart from the competition and will unlock even more value for our songwriters,” Moot said. “Our WCM team will remain embedded in our sync business to ensure our writers continue to receive the care, focus and creative pitching they deserve.”
We should learn more about the new sync unit’s structure and operations moving forward – and possibly during Warner Music’s just-scheduled fiscal fourth quarter earnings call on November 19th.
Closer to the present, that the reorganization has arrived amid a series of broader WMG restructuring initiatives and shakeups isn’t a secret. Even so, it’s the latest in a line of bets on sync, which, by the RIAA’s calculation, delivered an 18.2% year-over-year recorded revenue boost to $231.8 million in the States during H1 2026.
(Though sizable, that sum might not tell the full story; technically, social media licensing deals rather directly involve synchronizing music to visual media and would significantly increase the total, for instance.)
New agreements and high-profile funding are certainly materializing; MAIA Universe recently pulled down major licensing deals and a strategic investment from Bjorn Ulvaeus, for example. And so are additional copyright infringement lawsuits targeting the many brands that allegedly used protected music in social videos without authorization.
Near-term sync growth, is, of course, a positive. But in the longer run, fortifying the potentially AI-resistant space now could set the stage for material revenue-base expansions. Wherever the artificial intelligence cards fall, machine-generated audio has a long, long way to go before it evokes nostalgia.
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