Music supervision and licensing for campaign teams
From the first creative route to the final cut, EightSix brings music strategy, supervision, licensing and production into one campaign workflow, so the track that wins the room is also the track you can clear, adapt and ship on time.
A route is signed off on a temp track, then rights, territory or term make it impossible. Weeks of creative momentum are lost re-opening a decision that was never really made.
The edit is locked before anyone discusses tone, pace or brand fit. The music has to rescue a cut rather than shape it, and the result feels applied rather than intended.
Six-second bumpers, vertical social, retail screens, radio. Without adaptations planned from the start, each format gets a rushed re-edit and the campaign stops sounding like itself.
One sequence, three music treatments. Each treatment keeps the same picture and the same cut points, and changes only the musical intention. Choose a treatment to read what changes and why.
Choose a treatment
Tension
Hold the viewer in the unresolved moment for as long as the edit allows.
A single sustained tone under the first two shots, no percussion until the reveal. The harmony never resolves to the root, so the ear keeps waiting. The cut feels slower than it is.
Unresolved harmony, late percussion, wide dynamic range.
This demonstration was built for this website to explain a creative method. It is illustrative, a personal reaction to a treatment is not a measured campaign outcome.
The audio and film for this demonstration are not published yet. We are clearing an approved sequence with two to three cleared treatments; until then the written explanation stands on its own.
Ipsos discusses distinctive brand assets, sound among them, as part of building attention that is actually remembered.
EightSix reading: this is a qualitative argument for treating music as a repeatable brand asset rather than a per-campaign choice. It does not quantify an uplift attributable to sound, and we do not present one.
Ipsos, From Noise to Noteworthy, 2026
データ収集時期 Published January 2026 · International
Qualitative synthesis of Ipsos creative and attention research
出典確認日 2026-09-09
出典を見るSix stages, and a deliberate separation between choosing music and confirming what you are permitted to use. Creative selection never depends on an assumption about rights.
You provide
Objective, audience, creative references, media plan, territories, term, budget range and launch date.
You receive
A written music brief we both work from, with the open questions named.
You provide
Rough cut, animatic or storyboard, plus the stakeholders who need to approve.
You receive
Two to four distinct musical directions with the reasoning for each, not a playlist.
You provide
Feedback on direction, and the formats the campaign has to reach.
You receive
A shortlist against picture, with an early view of what each option would require to clear.
You provide
Confirmed media, territories, term and any options you want to hold.
You receive
Quotes, negotiation and written confirmation of permitted usage before commitment.
You provide
Final picture and the deliverables list, including cutdowns and vertical formats.
You receive
Recording, arrangement, mix and every adaptation built from the same musical source.
You provide
Technical specifications from your broadcast and platform partners.
You receive
Delivered audio to specification, stems where agreed, and the usage documentation.
Music credit
immowelt credits EightSix for music in its campaign. The credits name KNSK Berlin as the agency and Simon&Paul Film Hamburg as the production company.
Agency: KNSK Berlin · Production: Simon&Paul Film Hamburg
詳しく読むView published credits (PDF)Modular sonic branding system
EightSix was commissioned to develop a modular sonic branding system for Siemens Home Appliances. Campaign Germany reported on the project on 24 April 2026.
詳しく読むThe seven things that decide whether a music process runs in days or weeks. Copy this into your brief document.
Commissioning gives you exclusivity, control over the arrangement and adaptations built for every format from the start. Licensing gives you an existing recording with existing cultural meaning, and the negotiation decides the price. The deciding factors are usually how many formats you need, how long you need the rights, and whether the track has to belong to the brand afterwards.
By planning the adaptations before the recording, not after. When we produce, we keep stems and structure so a six-second bumper, a vertical social edit and a radio spot can each be built from the same musical material and still sound like one campaign.
Multiple rights holders on one recording, a territory added late, an unconfirmed term, or a media plan that changes after a quote. We name these dependencies during the shortlist stage so a route is never approved on an assumption.
The brief items in the checklist above. If territories, term and formats are still open, we can still start on creative direction, we simply keep the shortlist to options that stay viable across the likely scenarios.
If a sonic identity exists, campaign music is written or selected against it, and we document how it relates. If there is none, we work from the brand's positioning and existing assets, and note what a longer-term identity would fix.