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Every advertising campaign needs music, but, but not every campaign needs music created from scratch.
Some brands benefit from an original soundtrack composed specifically for the film. Others can achieve what they need with a carefully selected stock track. In certain cases, licensing a recognizable commercial song may provide the strongest creative impact.
The right choice depends on more than personal preference.
Brands and agencies should consider the campaign objective, creative concept, budget, timeline, required rights and how closely the music needs to connect with the brand.
This guide compares original music, stock music and commercial track licensing to help brands choose the most suitable approach.
Most advertising campaigns use one of three approaches:
Each option offers different levels of originality, flexibility, cost and control.
There is no single approach that is right for every campaign.
A short digital advertisement may work perfectly with a stock track. A major brand launch may require original music. An entertainment-led campaign may benefit from a recognizable commercial song.
The decision should begin with what the music needs to achieve.
Original advertising music is composed and produced specifically for a brand or campaign.
It may be created around:
The music does not exist before the project begins.
It is developed around the brief and can be adjusted throughout the production process.
Original music may take the form of an instrumental soundtrack, advertising jingle, original song, vocal hook or adaptation of the brand’s existing sonic assets.
Stock music—also known as production music or library music—is pre-existing music made available for licensing.
Brands and agencies can search music libraries according to characteristics such as:
Once an appropriate track is found, the brand purchases a licence based on the intended media, territory, campaign duration and other conditions.
Stock music can be convenient because it already exists and can usually be tested immediately against the film.
However, it was not created specifically for the campaign or brand.
A commercial track is an existing song released by a recognized or independent artist.
Using one in advertising generally requires permission from the owners of both:
The composition may be controlled by publishers, songwriters or collecting organizations. The master recording is usually controlled by a record label or the artist.
The licensing process can be more complicated and expensive than licensing stock music.
However, the song may bring existing recognition, emotional association and cultural relevance to the campaign.
Original music is most valuable when the soundtrack needs to perform a specific creative or strategic role.
This may include supporting an exact film structure, communicating a brand message, reflecting a distinctive personality or becoming a recognizable campaign asset.
Original music may be the best choice when:
A major product launch, brand film, Saudi National Day campaign or large integrated campaign may justify this level of customization.
Stock music can be effective when the soundtrack plays a supporting role and the campaign does not require a completely distinctive musical identity.
It may be suitable when:
Stock music can work particularly well for social media content, internal videos, online explainers and smaller campaigns.
The important point is to select it carefully.
A stock track should still support the brand, audience and emotional purpose of the communication.
A recognizable commercial song can create an immediate emotional response.
The audience may already know the melody, lyrics, artist and cultural meaning surrounding the track.
This can make commercial music valuable when:
However, recognition does not automatically make a song appropriate.
A popular track may attract attention while weakening brand attribution if audiences remember the artist but not the advertiser.
The song’s existing meaning and previous commercial uses should also be reviewed carefully.
Each option offers a different balance of speed, originality, flexibility and cost.
Original music provides the greatest creative control. It can be composed around the film, brand, campaign message and required durations. It may also be created exclusively for the brand and adapted for future use, depending on the agreement.
However, it requires more time for composition, production, feedback and revisions.
Stock music is generally faster and more affordable because the track already exists. It can be tested against the film immediately and may work well when music plays a supporting role.
However, customization is limited, and the same track may be used by other brands if the licence is non-exclusive.
A commercially released song can bring immediate recognition and an existing emotional connection. This can be valuable when the song or artist is central to the campaign concept.
However, licensing can be expensive, time-consuming and restrictive. The brand may also have limited control over edits, adaptations and long-term usage.
The right option depends on how important music is to the campaign, how distinctive it needs to be and how much flexibility the brand requires.
One of the main advantages of original music is that it can be shaped around the campaign.
The composer can control:
If the product appears at 18 seconds, the music can build toward that moment. If the voice-over becomes more important during the middle of the film, the arrangement can create additional space.
A pre-existing track may require the edit to follow the music instead.
This is not always a disadvantage. Sometimes editors discover creative opportunities by cutting around an existing song.
However, original composition offers greater flexibility when the film and music need to function as one piece.
Because stock music already exists, it can be placed against the film immediately.
This makes it useful during editing and early creative development.
Teams can compare several directions quickly and understand how different moods affect the advertisement.
The challenge is that searching can become time-consuming.
Large music libraries may contain thousands of tracks described using similar words such as “inspiring,” “corporate,” “emotional” or “cinematic.”
The first suitable track may not be the strongest option.
Effective music supervision requires more than finding something that matches the general mood. The track should also be evaluated according to:
Convenience should not replace creative judgment.
A released song arrives with its own history.
Audiences may associate it with a particular period, artist, film, event or personal memory.
These associations can give a campaign emotional depth immediately.
However, the brand does not completely control what the song means.
Different audiences may interpret it differently. Lyrics that appear suitable in one section may contain themes elsewhere that conflict with the campaign.
Before licensing a commercial track, brands should review:
The track should strengthen the campaign without introducing unintended meanings.
Stock music is often licensed non-exclusively.
This means the same recording may appear in another advertisement, online video, podcast or corporate presentation.
For background content, this may not be a serious concern.
For a major brand campaign, it can become a problem.
If audiences hear the same music connected to several organizations, the track cannot build a strong and exclusive association with one brand.
Original music offers the opportunity to create something more distinctive.
However, being original does not automatically mean being recognizable. The composition must still contain a clear musical idea and be used consistently enough for audiences to form an association.
A track may work beautifully with the visuals while feeling completely disconnected from the brand.
This is particularly common when music is selected near the end of production.
The team may ask whether the track makes the film emotional, but not whether it sounds appropriate for the organization behind it.
Music should be evaluated on two levels:
The strongest choice satisfies both.
If the brand already has a sonic identity, original campaign music can incorporate recognizable elements such as its core melody, rhythm, instrumentation or sonic logo.
This creates a connection between the new campaign and the brand’s wider audio presence.
For campaigns in Saudi Arabia and the GCC, music may need to reflect a specific cultural context.
Stock libraries may offer tracks categorized broadly as “Arabic” or “Middle Eastern,” but these labels can include very different regional traditions.
A track may use familiar instruments without feeling genuinely suitable for a Saudi audience or occasion.
Original music allows cultural influence to be developed more precisely through:
This does not mean every regional campaign needs traditional music.
A modern Saudi technology brand may require only subtle cultural details, while a National Day campaign may place heritage at the center of its musical direction.
The approach should reflect the actual brand and story rather than relying on general regional clichés.
Multilingual campaigns introduce additional requirements.
If the music is instrumental, the arrangement may still need to accommodate different voice-over timings.
Arabic and English sentences often have different lengths, rhythms and pauses. The same musical structure may not support both versions equally.
If the soundtrack includes lyrics, a direct translation may not fit the melody naturally.
Original music provides greater flexibility to create:
A pre-existing track may offer fewer options unless stems or alternative mixes are available.
Stock music often has a lower initial price than original composition.
However, the complete cost should include the required usage.
A licence may change according to:
Commercial tracks may require separate negotiations for composition and master rights.
Original music may require a larger production investment, but the brand may receive broader usage, adaptation rights or ownership depending on the agreement.
The most affordable option initially is not always the most economical over the full life of the campaign.
Original music can be created exclusively for the brand, but the agreement must state this clearly.
The contract should define whether the brand receives:
Stock music is frequently non-exclusive, although some libraries may offer exclusive or restricted licensing at a higher cost.
Commercial song exclusivity is more complicated. The brand may be able to restrict competing uses within a category for a certain period, but this depends on the rights holders and negotiated agreement.
Never assume that purchasing a music licence prevents other brands from using the same track.
Stock music is usually the fastest option because the recording is already available.
Original music requires time for:
Commercial licensing can be unpredictable.
Approval may be required from several songwriters, publishers, labels, artists or estates. If one party declines, the track may not be available.
Brands considering commercial music should begin the clearance process early and maintain an alternative option in case approval is not secured.
Original music can generally be revised during production.
A brand may request changes to the melody, energy, instruments, structure or ending within the agreed feedback process.
Stock and commercial music already exist.
The recording itself usually cannot be changed freely. Editors may be able to shorten or restructure it, but the licence may restrict modifications.
Some stock libraries provide stems or alternative mixes, offering more flexibility. Commercial rights holders may also approve edits, although significant changes can require additional permission.
If the campaign is likely to evolve during production, adaptability should influence the music choice.
Campaigns rarely use only one film.
They may require:
Original music can be structured around these requirements from the beginning.
A composer can ensure the main musical idea appears early enough for short formats and create natural endings for every duration.
Stock and commercial tracks may be harder to shorten.
The most recognizable section may arrive too late, or the track may not contain a clean ending at the required time.
These limitations should be tested before the final music decision is made.
Stems are separate audio files containing groups of musical elements.
For example:
They allow the post-production team to adjust the soundtrack for different edits and voice-overs.
Removing a melodic element may create more space for narration. Reducing percussion may make an emotional version feel more restrained. Isolating the main hook may help produce a six-second edit.
Original music projects can include custom stems and versions within the delivery scope.
Some stock libraries also provide stems, but this should be confirmed before licensing. Commercial track stems may be difficult to obtain or subject to additional approval.
Editors often use a temporary track while developing a film.
This is known as temp music.
It helps establish the pacing, emotional direction and approximate musical structure before the final soundtrack is created.
An original composer can use the temp track as a reference while developing a distinctive alternative.
However, teams can become attached to temporary music after hearing it repeatedly. Every new composition may then feel incorrect simply because it is unfamiliar.
To avoid this, the brief should explain what works about the reference:
The objective should be to understand the function of the temp track—not reproduce it too closely.
Stock music can sometimes be adapted.
Possible adjustments may include:
Whether these changes are allowed depends on the licence.
Customization may improve the track’s relationship with the film, but it does not make the underlying composition exclusive to the brand.
If significant changes are required, original music may provide a cleaner and more flexible solution.
Brands sometimes request an original soundtrack that sounds very close to a popular commercial song.
This creates legal and creative risks.
Changing the instruments or production style does not necessarily prevent infringement if recognizable melodic, lyrical or compositional elements are copied.
References should communicate a broad creative territory rather than act as a blueprint for imitation.
A music agency should identify the characteristics behind the reference—such as energy, texture, pace or emotional development—and translate them into a distinct composition.
The goal is to achieve the required feeling without reproducing another creator’s work.
Before choosing the music approach, ask:
If the concept depends heavily on music, original composition or a specifically licensed commercial song may be appropriate.
If the soundtrack should become strongly associated with the brand, non-exclusive stock music may be unsuitable.
Original music offers the greatest synchronization flexibility.
Custom composition may be easier to adapt across durations, languages and platforms.
A commercial track may provide an advantage if its established meaning genuinely strengthens the campaign.
Stock music usually offers the fastest solution.
The budget should account for production, licensing, rights, adaptations and future usage—not only the first delivery.
If so, original music may create more lasting value.
The decision does not always need to be completely original or completely pre-existing.
A campaign may combine approaches.
For example:
The approach should reflect the importance and purpose of each touchpoint.
However, the complete campaign should still feel coherent.
Using unrelated music for every piece of content can make the brand sound inconsistent.
No. Original music provides greater customization and distinctiveness, but stock music can be appropriate when the soundtrack plays a supporting role, the timeline is short or the budget is limited.
Usually not. Stock music is protected by copyright and made available under a specific licence. The licence determines where, how and for how long it may be used.
Yes, if the track is licensed non-exclusively. Exclusive availability should be confirmed with the music provider.
Only when the relevant rights and permissions allow it. Significant edits, lyrical changes or adaptations may require additional approval.
No. Ownership and usage depend on the agreement with the composer or music agency.
Original music is often suitable when the campaign requires a distinctive sound, multiple adaptations and long-term brand value. A commercial song may work when its existing recognition is central to the creative idea.
Yes. A sonic logo, core melody or other recognizable brand element can be integrated into the campaign composition.
The agreement should address media, territories, duration, exclusivity, editing, adaptations, composition rights, master rights and future usage.
The best soundtrack is not simply the track that sounds most impressive when placed beneath the film.
It is the music that best serves the campaign objective, fits the brand and provides the creative and legal flexibility required for every intended use.
Stock music offers speed and accessibility. Commercial tracks provide existing recognition and emotional meaning. Original music offers customization, distinctiveness and the potential to create a lasting brand asset.
MusicGrid helps brands and agencies select, create and manage music for advertising campaigns across Saudi Arabia, the GCC and the wider MENA region.
From music supervision and licensing guidance to original composition and full production, the approach is developed around the needs of each campaign.
Contact MusicGrid to discuss the right music approach for your next advertisement.
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