Keeping Composed: How to Craft Great Original Music for Ads

In all senses of the word, nothing moves people like music. Advertisers know this, which is why so many iconic ads are set to the backdrop of an incredible song. Sometimes, that involves an iconic needle drop of music that evokes memories or nostalgia. But on other occasions, something more bespoke is required. 

Original music is a great way to make an ad immediately distinctive, cutting through a culture of saturated sameness. MAS, (Music and Strategy), is an audio house which instinctively grasps that fact. Alongside their work in music supervision, the studio also has a strong track record when it comes to original compositions spanning an eclectic range of genres and moods. 

“We thrive on variety - our team and network of artists are adept across genres, capable of producing anything from reggaeton to Nintendocore (yes, it's a real genre)”, explains co-founder and president James Alvich. “This industry keeps us on our toes, ensuring we're never confined to just one style”. 

And within that diversity of output, MAS is thriving. What’s immediately apparent from speaking to James is that original composition isn’t some kind of cold, automated factory line. It’s an organic process, underscored by creative curiosity. “We begin by understanding the creative vision, engaging in a dialogue to ensure we’re all aligned”, he tells LBB. “The real art is in translating that vision into music, especially within the tight constraints of commercial timeframes. The approach varies significantly, whether we're aiming to evoke a specific emotion or highlight a promotional offer”. 

But whilst there is no one set method through which to craft a great piece of original music, James and MAS have invariably found a way to make it happen. To get a better feel for how original music gets made for ads, we asked James to look back on four stand-out examples. 

Kate Spade: Swan Dive 

“Music wasn’t just an element for this ad”, recalls James, “it was the core of the entire campaign”. 

Amping up the ambition on this particular project was an interactive element, whereby viewers could choose the music that played in the ad. “This choice allowed for a dynamic experience, as the mood and atmosphere of the ad shifted based on the viewer's selection, offering a personalised touch”, he explains. 

This unique element of the campaign meant that MAS needed to craft a number of tracks that not only elevated the creative, but also that sufficiently stood out when juxtaposed with one another.

“By focusing on genres that complimented the ad's vibe, we could create music that resonated deeply, making the process straightforward in the end”, says James. “Our goal was always to produce something ‘cool’ within the chosen genres - and in scenarios like these, we're in our element”.

Dick’s Sporting Goods: Every Pitch 

‘Every Pitch’ is an ad driven by tension. It grabs you and it doesn’t let go until the final second, chiefly thanks to an ever-tightening soundtrack that palpably winds up the pressure. As James explains, that was very much part of the creative conversations from the very start of the project. 

“We explored the concept of conveying a powerful message in a single shot, aiming to evoke emotions without explicit dialogue”, he says. “Initially, our attempts leaned towards the more obvious choices for creating tension, which helped us understand what didn't work”. 

But the team kept experimenting, until the right choice became apparent. “The breakthrough came from drawing an analogy between the anticipation in a single baseball pitch and the moment an orchestra tunes before a performance”, he continues. “As soon as we came up with that parallel, everyone was fully on board. The idea of starting with a single note, mirroring a single player's focus, and gradually building up to the full ensemble's collective anticipation paralleled the crescendo of tension before a significant moment in sports”. 

Conceptually, that hit the nail on the head. “This approach not only set the pace but also perfectly encapsulated the anticipation and tension we aimed to convey, leading up to that climactic moment”, concludes James. 

Travelers Insurance: A Better Tomorrow 

Ultimately, most people are just decent folks trying to do their best. That’s the relatable, positive story weaved into this ad for Travelers Insurance, and it shines all the more brightly thanks to the understated and soothing melody playing alongside it. 

“This was one where the brief was to write an Americana folk-style track that helped tell this beautiful story”, recalls James. “The visuals are there; we just added the soundtrack. We created a variety of tracks that all did the same thing, but leaned one way or the other in terms of how heavy-handed the music was”. 

When the final track first landed, however, there was little need for further deliberation. “This track immediately struck a positive note with the team. That wasn't an intentional pun. Now, I hate myself”, notes James. 

American Lung Association: Hope 

Like great music, animation has an otherworldly, dreamlike quality that can help an important message land even more powerfully. When the two work in tandem, as they did on this film for the American Lung Association, something special happens. 

“Those beautiful visuals inspired this track”, reflects James. “We wanted to create something that helped delicately tell this story”. 

Although the visuals have a whimsical quality, the truth at the heart of the ad is grounded firmly in reality and lived experiences. That was something that James and the MAS team were cognisant of throughout their work. “The parallel of lost time while struggling to quit smoking is real, but we didn’t want to be too overt, so the lyrics were chosen to help tell the story without hitting you over the head”, he says. 

Looking at this collection of ads holistically, it’s hard to spot a single unifying factor. The music genres, brand categories, and storytelling techniques are all wildly divergent. But, as James explains, the common thread is an openness to creative experimentation and the possibility that the final product might end up looking different to someone’s initial vision. 

“One of the biggest hurdles in creating an original composition is aligning with the preconceived soundtracks in our clients' minds”, he says. “Music evokes a broad spectrum of emotions and perspectives, making it a challenge to match those expectations precisely. Moreover, music's universality means that everyone has an opinion on it, often boiling down to a simple like or dislike”. 

Overcoming that is a challenge, but one which James relishes. “Our task is to navigate these varied emotional landscapes and preferences, crafting a piece that not only serves the narrative but also resonates with everyone involved in the project”, he says. “Balancing these elements is rarely straightforward, given the subjective nature of music and its impact”. 

But when it’s done right, these four examples offer a taste of the benefits. After all, nothing moves us quite like music. 

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