Sound is sneaky. It lives in your pockets, in the turn of a camera, in the quiet 31 seconds before a Disney movie officially starts. You rarely notice it until it tells you to notice it, then you look up and realize an entire brand just nudged your brain. That nudge is what advertising used to outsource to jingles and signature songs, and what it now buys, borrows, or composes from scratch. The question every marketer and product owner should ask is simple, but expensive, licensing versus creating original music, which one actually makes sense.
Sound is more than decoration, it is function, identity, mood. There are three places music and sound do real work.
When those three line up with your brand, people may not say why they feel a certain way, they just feel it. As one guest put it, “music is so primal,” it works below the sentence level, straight into how we breathe and move.
Licensing a popular track is tempting because of raw familiarity, and familiarity is sticky. Put that charting song into one ad, and millions of people might hum your brand later. The downside, as I learned from people doing this, is that famous can be prohibitively expensive. One person I spoke with was quoted about 80,000 euros to license a well known pop track for an online video. That is not a rounding error in a budget, that is a negotiation that changes strategy.
Pros of licensing – Immediate recognizability, if the song matches your brand. – Often quick to implement for a single campaign. – Can piggyback on the cultural energy around the song.
Cons of licensing – Cost varies wildly, often steep for popular songs. – Licenses have limits, usage windows, and territorial terms. – Association risk, the song brings its own history and cultural baggage. – You do not own the sound, so long term use can be complicated.
There are success stories. Nikon used a then lesser known track that became closely associated with their ads. Ikea did something similar with a whistle driven tune. When licensing works, it can build momentum for both brand and artist. But those are specific, often costly bets.
Commissioning original music is like tailoring a suit, versus renting a tuxedo. You can get the exact cut, fabric, and stitching that matches your visual identity and strategic needs. Original music gives you rights, flexibility, and continuity. You can translate a two minute brand score into a 20 second sound logo, a set of mood tracks for store playlists, and functional sounds for apps. It becomes a house style for sound, the musical equivalent of brand colors and fonts.
Pros of original music – Ownership and long term rights, no surprise takedowns. – Designed to be adaptable across channels, from apps to airports. – Fewer unintended cultural associations, because you made it for your brand.
Cons of original music – Upfront cost, creative process takes time. – Requires a strategic brief, not just “make it sound cool.” – You need a style guide, or it risks being misused and diluted.
The most important thing with original work is the brief. Know your brand personality, who you speak to, and where the music will live. If the brief is weak, even a great composer will deliver something that feels like a random mood track and not an identity.
Money is the blunt instrument in this debate. A company will sometimes reach for a chart hit because it wants impact now, even if the track does not fit the brand voice. That is a mistake I hear often. Musical taste is personal, and letting one marketing manager’s playlist decide a brand’s sonic presence is a shortcut to inconsistent messaging. A quote that stuck with me, and that I now use like a tiny sign on my desk, is “Loud doesn’t mean better.” You can play a terrible file at high volume in a boutique and manage to annoy half your customers.
Also, Spotify is not a magic answer for stores. Your personal Spotify license is for private use only, and playing Spotify in a commercial setting is a copyright issue, and a gateway to fees to collection agencies. There are legitimate commercial audio services, Tunify being one example, that offer playlists tailored to venue type and licensing covered.
Finally, licensing deals come with limits, sometimes an expiry date and strict usage clauses. If your campaign is meant to build a long term brand sound, licensing a song for a three month window might work for a campaign, but it will never become your sonic DNA.
If budget is limited, test small. Use a licensed track for a short campaign, analyze impact, then commission a tailored theme for long term use. Or make a short brand score and build mood variations that fit different channels. Tiny wins compound. Even small improvements in perceived experience, airports and hospitals have shown, matter at scale.
Sound in advertising has evolved from jingles and one off placements to strategic sonic identity. Licensing is a powerful tool for instant recognition, but it comes with a price and constraints. Creating original music is slower and requires discipline, but it gives you the control to be consistent, functional, and adaptive.
If you care about your brand, stop treating sound as an afterthought. Audit your current audio, confirm your licensing, and if you are serious about standing out for more than one campaign, budget for original work. Music is not a nice to have, it is a medium that nudges people. Use it well, or be prepared to pay for a rented tune that never quite belonged to you.
Commenting Rules: Being critical is fine, if you are being rude, we’ll delete your stuff. Please do not put your URL in the comment text and please use your PERSONAL name or initials and not your business name, as the latter comes off like spam. Have fun and thanks for your input.
Join a growing community. Every Friday I share the most recent insights from what I have been up to, directly to your inbox.
