Getting music you own the rights to use as you need
Understand music ownership, licensing terms and rights negotiation when commissioning custom compositions for your brand or campaign.
When you commission music for a commercial, advertisement, corporate video or brand campaign, the last thing you want is to discover mid-project that you don't actually own what you've paid for. The tension at the heart of this decision sits here: you need music that fits your vision perfectly, but you also need absolute clarity on what you can do with it once it's made. A composer can write something bespoke and brilliant, yet if the rights aren't negotiated upfront, you may find yourself unable to reuse it, adapt it, or deploy it across different platforms without renegotiating fees.
The key distinction is between licensing (renting the right to use someone else's work) and owning the rights outright. When a composer retains ownership, they can license the same track to competitors, and you're bound by whatever agreement was struck—perhaps it's valid only for online use, or only for one year, or only in one region. When you own or control the rights, you decide how and where the music appears, for how long, and whether it can be modified or relicensed. For most businesses, clarity and control matter more than the additional cost of securing full rights.
Starting the conversation the right way
Before you approach a composer, be honest about your end-use. Will this music appear in a 15-second Instagram ad, a 90-minute documentary, a podcast series, or all three? Will it need to run for two months or indefinitely? Could it be adapted for a future campaign? The answers shape what you need to negotiate and what it will cost.
When you first brief a composer, ask directly: "What rights will I have, and what will be included in your quote?" Some composers price custom work on the assumption that you'll own it entirely; others quote a lower figure for a limited licence and charge extra for buyout or exclusivity. Neither is wrong—it's just a commercial question that has to be visible from the start.
Ask also whether the composer will retain any rights to the underlying composition or recording. In some cases, they may keep the publishing rights (the right to license the melody and harmony to others) while you own the recording and can use it freely for your stated purposes. That's often a fair middle ground. Other times, you'll want full ownership of both—which costs more, but gives you complete control.
What "owning the rights" really means
When a contract says you own the music, check what's actually included. Does it cover:
- The right to use it in perpetuity, or only for a set term?
- Use across all media (broadcast, online, in-store, events) or only specific channels?
- The right to edit, remix or adapt it?
- Exclusivity—meaning the composer can't license it to anyone else, including competitors in your industry?
- The right to sublicense it (pass it on to a third party, like a production company or distributor)?
Exclusivity usually costs more. If you're creating a signature brand jingle, it's worth the investment—you don't want your competitor using the same tune. If it's a one-off explainer video, you may not need exclusivity, and waiving it can bring the cost down.
Get everything in writing. A WhatsApp message saying "you own it" isn't a contract. A proper brief and agreement should specify the music deliverables (stereo mix, stems for editing, file formats), the rights being granted, any limitations, and what happens if you need changes after delivery. If the composer won't provide a written agreement, treat that as a red flag.
Once you've nailed down the rights question, you're in a much stronger position to evaluate whether a composer's price reflects the scope of what you need. You'll also know exactly what you can do with the finished work—no surprises, no locked-in usage, no need to renegotiate six months down the line.
When you're ready to commission, look for a composer who's comfortable discussing rights upfront, happy to put terms in writing, and willing to work within your budget and creative vision. Strove's verified music professionals can walk you through these agreements and help you land on a deal that protects your investment and your brand.
Common questions
- What's the difference between owning music rights and licensing them?
- Owning rights means you control how the music is used, for how long, and across which platforms—with no restrictions or renegotiations needed. Licensing means you're renting the right to use it under specific terms set by the composer, such as duration, media type or geography. Ownership gives you flexibility; licensing is often cheaper upfront but limits your options.
- Do I need to pay more for exclusive rights?
- Yes, exclusivity typically costs more because the composer agrees not to license the same music to anyone else, including your competitors. If you're building a signature brand sound, exclusivity is valuable. For one-off projects, non-exclusive use may be sufficient and will be cheaper.
- What should a rights agreement include in writing?
- A written agreement should specify the deliverables (file formats, stems), the scope of use (media types, duration, geography), whether rights are exclusive, what happens if you want edits after delivery, and whether you own both the composition and the recording. Never rely on verbal promises; always get terms in writing before paying.
- Can I edit or adapt music I own the rights to?
- That depends on what the contract says. Ask upfront whether you have the right to remix, edit or adapt the music. Some agreements allow it; others restrict you to using it as-is. If adaptation might be part of your future use, make sure it's covered in the brief and agreement.
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