Matt Hayward’s game-changing new venture is re-inventing the original music composition model for agencies, brands and composers
One music brief. A generous selection of free demos. A choice of three simple worldwide licenses. Getting an original composition for your latest campaign really is as simple as one, two, three, thanks to AdMusic’s game-changing music platform.
Revolutionising the original music model for agencies, brands and composers alike, Matt Hayward has devised an online service that connects award-winning screen composers with creative agencies and brands around the world, simplifying the scoring and licensing process.
Streamlining the entire process of scoring original music, AdMusic invites agencies to submit musical briefs online before opening them up to the service’s roster of professional screen composers around the world. From there, AdMusic guarantees to deliver a minimum of three free demos, although on average they will supply agencies with eight to twelve, all with a choice of three simple worldwide licenses
With music budgets ever-shrinking, agency producers are increasingly having to turn towards more affordable, less effective library music, but that’s no longer the case thanks to Hayward’s refreshing online-only model.
“The industry has changed radically over the past five years and shrinking budgets have determined to a large degree the way we now do business,” Hayward explains. “With multiple award-winning screen composers at our fingertips, who are happy to pitch for work, and agencies and their clients looking to have original music scored on tighter budgets, we've simply moved the business online and in doing so have removed two of the primary overheads associated with running a traditional music company, namely real estate and full-time support staff. This in turn has allowed us to eliminate the main barrier to having original music scored on a tight budget, which is cost.”
Easy as One, Two, Three
For agencies and brands, the entire process has been boiled down to a simple three-step process. Firstly, agencies are invited to upload their brief online before it’s delivered to AdMusic’s handpicked team of professional screen composers. AdMusic will then deliver a minimum of three free demos from its composers within 48 hours. There’s no obligation to use or license any of the demos but, if one is selected, the agency then picks from three simple licenses - at incredibly competitive prices – before, if required, revising and finalising the track:
AUS $3,000 - Online Only - 12 months / Worldwide
AUS $6,000 - Any Media - 12 months / Worldwide
AUS $12,000 - Any Media Plus - Perpetuity / Worldwide
Each license includes the costs of the required revisions and guarantees worldwide usage, with full usage of the original score in perpetuity costing as little as AUS $12,000.
Don’t Settle for Library Music
Hayward and his team have created a platform that makes it possible for brands and agencies to own an original composition but on a budget that’s competitive to a library track.
“In recent years, brands have been spending less on big brand TVCs and increasingly more on multiple content productions with much smaller budgets, usually for use across multiple channels,” explains Hayward. “Just because your music budget is tight, it doesn’t mean you should have to settle for library music. In our opinion, scored music raises the creative bar 99% of the time on projects where music is required.”
Instead of syncing a library track, agencies can now have exclusive use of an original composition for worldwide usage for 12 months, or forever in the case of AdMusic's ‘All Media Plus’ licence, with no rollovers, no repeat fees and no ongoing administration costs.
No Obligations for Composers
For the composers on AdMusic’s roster, there’s no obligation to respond to any brief. They’re able to remain entirely anonymous, allowing them to continue working their day job or, in the case of many freelancers, continue to market their own brand whilst pitching for AdMusic briefs - earning 60% of the fee and retaining 100% of the publishing.
“Personally, the benefits for me lie in the ability to pitch on jobs that otherwise I wouldn't have had the opportunity to,” explains AdMusic composer, Andy Scott. “As a freelance composer, it's imperative that I have multiple streams of work coming into my studio.”
It’s a sentiment echoed by another of the roster’s composers, Jamie Saxe: “One huge benefit is that I can focus on composing music and have a lot of projects coming in that I haven’t had to search for. While I continue to work on other composing and film projects, it gives me a chance to work on projects that might not otherwise come my way. Selling your music has always been a competitive enterprise and joining the roster has opened up another platform for composing opportunities.”
“For me, the benefits are being able to keep some freelance work coming, while still maintaining my other jobs along the line. It's also nice to be able to have the opportunity to say ‘no’ to a project if I don't have time or don't feel like I can connect with the project,” adds another AdMusic composer, Mark Allen. “Working in a ‘traditional music house’ for several years, that ability to say no has been a big help. I do this in addition to several other things in music, so I feel like these projects for AdMusic are more like fun, side-projects, rather than an obligation I need to fill.”
Whether it’s for the agency, the brand, or the composer, the demand for a more convenient and affordable process - with a more equitable payment structure for composers – is the disruptive service’s long-term goal.
"This is a new model and accordingly we expect that it’ll pivot over the course of the next couple of years as the industry continues to morph and as we receive feedback from both agencies and composers alike,” concludes Hayward. “However, what will never change is our core belief that original music composition, or rather the craft of scoring music to picture, is an essential element in bringing any film that requires music to life, no matter what the format.”
Expat Englishman Matt Hayward has been working in the music for advertising space in Australia for over twenty years, initially as a composer in his own right, and then as a producer and facilities manager, founding and running several audio post production businesses over the years.