When you find the right song for an advertisement, you may assume that getting permission means obtaining a single license.
 

In practice, using a song can involve more than one set of rights.

The two rights you will need the most are composition rights and master rights. They relate to different parts of a song, and they may be managed by different parties.

Knowing the difference from the beginning can make the licensing process easier, especially when you are preparing music for an advertising campaign with a specific creative concept, media plan, territory, and production timeline.

First, What Is a Composition?

A song is more than just the recording that you hear.

At its core, there is the composition: the underlying musical work created by the songwriter(s). This generally includes elements such as the song's lyrics and melody.

For example, imagine you hear a song on a streaming platform and decide that its melody and lyrics would fit perfectly with your upcoming campaign.

What you are interested in is not only the recording. You are also using the underlying composition.

This is where composition rights come into the picture.

The rights to a composition may belong to or be managed on behalf of the songwriter(s), publisher(s), or other relevant rights holders, depending on the song and its rights arrangements.

So, when you want to use a song in an advertisement, identifying who controls the relevant composition rights is an important part of the process.

Then, What Is a Master Recording?

Now imagine that you don't just want the song itself.

You want to use a specific recording of that song — perhaps the original version by the artist you know, including its particular vocals, instruments, arrangement, and production.

That specific recording is known as the master recording.

The rights associated with that recording are commonly referred to as master rights.

Master rights can be controlled by a different party from the one managing the composition. Depending on the recording and its arrangements, this could involve a record label, artist, or another relevant rights holder.

This means that finding the right song is only one part of the process. You also need to understand which recording you want to use and who has the authority to license it.

Why Can the Two Be Managed Separately?

This is where the distinction becomes particularly important for advertising.

One party may manage the rights to the composition, while another party controls the master recording.

So, getting authorization from one rights holder does not automatically mean that all relevant rights for your intended use have been cleared.

Think of it this way:

Composition rights = the underlying song.
Master rights = the specific recording of that song.

You may need permission for one, the other, or both, depending on how you plan to use the music.

For example, if your campaign uses an existing recording of a song, both the composition and the master recording may be relevant.

On the other hand, if you create a new recording of the song, the master recording you create is different from the original master. However, the underlying composition can still require an authorization.

The exact rights required will depend on the use case and the rights involved.

Why Does This Matter for Song Users?

For a Song User, understanding this distinction helps you ask better questions before the licensing process begins.

Instead of simply asking, “Can we use this song?”, it can be more useful to define:

What is the use case? Is it for an advertisement, film, series, digital content, or another production?

What media will be used? For example, television, cinema, social media, digital platforms, or other channels.

Where will the content be available? The territory can affect the scope of the license.

How long will the use run? The term of the license matters.

When does the production need the music? Your production deadline can affect the licensing timeline.

What is the budget range? Having a budget range helps set expectations when exploring suitable music.

Having these details ready does not automatically determine whether a particular song can be licensed or what it will cost. But they provide important context for identifying suitable options and determining the rights that need to be addressed.

The Song Is Right. Now What?

Finding a song that fits your creative direction is a great starting point.

The next step is understanding what you are actually licensing.

Are you using the underlying composition? Are you using a specific master recording? Who manages each right? What is the intended scope of the use?

These questions are worth clarifying before the music goes into production.

A clear brief can also make the conversation with the relevant rights holders more efficient. Instead of starting with only a song title, you can provide the context needed to assess the intended use.

Because ultimately, music licensing is not only about finding a song you like.

It is about making sure the song, recording, intended use, and relevant rights are properly aligned.

Ready to Explore Music for Your Production?

Before reaching out about a song, prepare the key information about your project:

Use case, media, territory, term, production deadline, and budget range.

Then, explore the Song User Overview on the Massive Music website to understand how you can start your music licensing journey.

Click link below: 
https://massivemusic.co.id/songuser/overview?utm_source=website_blog&utm_medium=owned_content&utm_campaign=september_ceria_2026&utm_content=mm-sep-010