Music and licensing
Music chosen for your brand, with licence records filed beside the videos they cover.
The short version
What you get. Music that fits your brand and licence records your team can find when they need them.
Is this for you? For videos that use licensed music and need a clear record of the permitted use. Where all the music is your own recording, there is no licence to file.
What leaves your plate. Music selection, clearance for the agreed use and filing the licence record in your folder.
Start with the Free Audit.
Where the licence lives once the video ships
The licence is uploaded into your folder
Each track's licence is saved under the name of the piece it covers and placed in the partner's own storage, beside the video it belongs to. If a claim ever lands, the document is already where the person answering it will look, which is the difference between an afternoon and a fortnight. Recorded beside it is what the licence permits, the use, the platforms, the territory and the term, because a filed document proves a specific permission rather than ownership of the track.
Filing happens before anybody asks
When a batch goes live, we upload its licence records and tell the partner where to find them. The records show the permitted use, whether a claim arrives or not.
Three partners, three music laws, and one of them is a ban
Instrumental modern jazz on one channel. No vocals and no hard transitions on another, with the intro and outro tracks fixed permanently so the library keeps a signature. On the third, no stock music at all: the opening is the brand's own recording and the audio comes from the studio that made it. A house playlist would have been wrong three times over.
The camera's own audio is never used
Where a separate recording studio sits in the chain, the camera scratch track is barred outright and the delivered audio file is the only source. Small rule, large failure behind it: a scene cut against a camera microphone sounds like a different room, and a viewer who cannot say why will simply feel the video get cheaper for eight seconds.
How music gets chosen and cleared
Selection starts from a written brief
Genre, vocal policy, transition behaviour and tempo are all set per partner before anybody opens a library. New genres are worth trying inside those limits. Sharp or hard transitions are out at two partners, because a jolt in the music reads as a mistake in the edit even when the cut underneath it was clean.
How licence records are named
Each licence record is named for the track and video it covers, using a format your team can search. A clear name saves a separate investigation when the document is needed.
Where the music starts and stops is an editorial decision
On one channel the outro track begins the moment the food starts being plated, every time, so the ending is recognised before it is announced. Fixed intro and outro music does the same job across a whole library: a viewer knows the shape of one of these videos before they know its title.
At the bench
The work, demonstrated
Try a decision from the craft: drag, tap or toggle, then read the trade-off.
These are illustrative models; no partner’s results are shown.
More demonstrations at the bench →Each licence is filed the day the video ships, so it is there if a claim arrives months later.
What changes for you
Music chosen for the brand, with the licence records and permitted uses documented in your folder.
Related: Audio mixing · Shorts and Reels · Delivery and export · Audio post-production
Send recent videos. We will review the edits and reply with the changes we would prioritise.
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What you will get
What is working, what could improve and whether we can help.
Two or three priorities, with the reason for each.
A recommended next step, even if that step is not us.
There is no obligation to continue. We only arrange a call if you ask for one.
The work, written up
The case studies keep their dates, sources and limits visible.
See the casework →