One signature.
All sync rights cleared.
Music for advertising, film, series, branded content and TV formats. We produce the master and hold the sync mandate from every rights holder: you clear it with us, not with three separate parties.
Finding the music isn't the hard part. Clearing it is.
Any track has two rights to clear: the master, meaning the recording, and the publishing, meaning the composition. They usually sit with different parties and have to be chased separately — that's what blows deadlines, not finding the right track.
Not here. We produce the master and hold the sync mandate from the rights holders: one document, signed with us, and the music is usable. That's what one-stop means.
What every licence includes
Multi-platform use, worldwide territory, a clearly defined term, and ready-to-use files: full version, instrumental, alternate versions, 15/30/60-second cutdowns and the Production Kit. Stems on request.
The Production Kit: the music is edited around the video
Every track also arrives taken apart, as loops of its sections — intro, verses, choruses, endings — named by position, so they sort themselves out in the timeline: the track gets rebuilt around your edit instead of cut wherever it lands. Where there is more than one kit, those are alternate versions of the same track at the same tempo, and they mix together. 16-bit, 48 kHz .wav, other formats on request at no extra cost. It won't do the job for you: it removes the problem of making finished music fit a video that runs to a different length.
If the project changes, you pay the difference
The project grows, moves, runs longer: we top the licence up to the level you need and you pay only the gap, never twice for the same use. And we don't stop a production waiting for a signature — tell us, keep going, regularise afterwards. That's why this kind of music has always struggled: not because of the price, but because it arrived with a legal department attached.
What isn't included
Full buyout, perpetual exclusivity and transfer of master or publishing are quoted separately. Performance royalties are excluded and paid by the end users to the collecting societies: that's standard for any registered music.
Cue sheets and credits
We supply production cue sheet data ready to file. For anyone working with broadcasters, that's the difference between a delivery accepted and one sent back.
Listen before you ask.
Mood playlists of finished tracks: vocals, arrangement, mix. If you don't find what you need, ask for the full catalogue or a selection built around your brief.
How the price is built.
It isn't an off-the-shelf price list, and anyone selling it as one is charging you too much or too little. The price comes from three axes: tell us those and you get a figure the same day.
Term
How long the licence lasts. It starts at payment, runs consecutively — no pausing — and applies even if the material goes unused. It can be unlimited.
Media
Where the tracks are used: giveaway media, web, regional TV, national TV, satellite, cinema. A given level includes the ones below it, never the ones above.
Territory
Which country it covers, with any limits. It's tied to media: a regional territory can't exist with web distribution, because online there are no geographic borders.
The answers, before they become a problem.
The video airs on TV and then I upload highlights to YouTube: what happens?
We top up the licence and you only pay the difference. Web is technically a different medium, but what you've already paid isn't wasted: we add the missing part, at a discount compared with a new licence. And we won't hold up your work waiting for a signature — put the highlights online, we'll sort it out after. The same goes for any change: new platform, new territory, campaign running longer.
Can I add a track to a licence I already have?
An existing licence isn't modified: an identical licence is issued for that track. It costs everyone less time and leaves a clear record of what was cleared and when.
I bought a regional licence but the video is going to satellite. How do we fix it?
A licence isn't changed mid-flight: one is added that supplements the previous media, specifying the new platforms. Nobody loses what they've already paid for.
Can I read the licence before paying?
Always. The text can be read, discussed and adjusted before there's an invoice involved.
The project stalled: can I get a refund?
No, the licence is non-refundable. Once paid it is fully active and stays valid for the agreed term: if the project restarts, the licence is still there and gets used without paying again. That's why the licence is read before payment — doubts get settled then.
If I resell the video to my client, does the licence follow it?
No. The licence is named and non-transferable: it belongs to whoever signs it. If the end user is someone else, tell us up front and we'll issue it in their name.
What happens at expiry?
You stop using the tracks. There's no automatic renewal: to continue you need a new licence, which we prepare the same day.
Where does the music go? We'll tell you what it costs.
Term, media and territory: with those three the quote lands the same day, along with the full rate card. If you haven't picked a track yet, send the brief and we'll build a selection.