Music licensing FAQ

One-stop means a single company controls both rights you need to put a recording to picture: the master (the recording itself) and the publishing (the composition). Sonomore controls both in-house for the music we license, so one agreement and one point of contact clear the track. There is no separate label or publisher to chase, which keeps clearance quick and predictable.

It depends on how the music will be used: the media (for example TV, online, cinema or social), the term, the territory and the level of exposure, plus any edits you need. We don't publish a price list because every use is different. Send us a brief and we'll come back with a quote.

Yes. On request we can supply the full mix, an instrumental, stems and cutdowns to common lengths such as :15, :30 and :60, so your editor can shape the track to picture. If you need an alternative mix, tell us which track and what you need in your brief.

Yes. We write and produce original music to brief for ads and brands. Send us the project, timings, references, deliverables and deadline, and we'll come back with an approach and a quote.

A sync license covers the composition, meaning the melody and lyrics as written, synchronized to picture. A master license covers one specific recording of that composition. To use a recording in a video you normally need both. Because we control both, we issue them together in one agreement.

Yes. Cutdowns to :15, :30 and :60 are available on request, and stems let your editor fine-tune hits, transitions and the ending. Share your edit points or a rough cut with the brief and we'll fit the music to them.

Yes. A license is scoped to how you'll use the music, so an online or social-only campaign is quoted for that media, term and territory. If the campaign later moves to TV, ask us about extending the license.

Because we control master and publishing in-house, there is only one party to agree terms with. Send a brief with your media, term, territory and air date, and we'll reply with a quote and the paperwork to match.

Yes. Our vocal indie and alt-pop songs are one-stop, so they can be cleared quickly for scenes, montages, openers and end credits. Instrumentals are available on request for moments where a lyric would compete with dialogue.

Yes. Promos and trailers are licensed like any other sync use: tell us the media, term and territory and we'll quote. Stems and cutdowns help fit the track to the edit.

Yes. Tell us how the film will be released, for example festival, broadcast or streaming, and the term you need. We'll quote for that scope. If the release grows, ask us about extending the license.

Yes. Our writer is PRO-registered, so we can supply the writer, publisher and PRO details your production needs for its cue sheet.

Yes. Master and publishing are controlled in-house, so a single agreement clears the song for sync. You deal with one contact from first listen to delivery.

Yes. Instrumentals are available on request, along with stems, so you can run the vocal where it helps the scene and drop it under dialogue or a voiceover.

A brief that covers the project and audience, the cut or timings, references you like (and any you don't), media, term and territory, the deliverables you need and your deadline. A rough cut or animatic helps us write to picture.

Yes. Custom tracks can be delivered as a full mix, instrumental, stems and cutdowns such as :15, :30 and :60, so the music works across every version of the campaign.

If a track in the catalog already fits, licensing it is usually the quickest route. Custom makes sense when you need music that follows a specific edit, a sound that belongs to your brand alone, or a song that doesn't exist yet. Send the brief and we'll tell you which we'd recommend.