A licence grants permission to use a musical work or recording under agreed conditions.

Depending on the project, those conditions may include:

• type of use;
• media and platforms;
• territory;
• duration;
• exclusivity;
• number of productions or campaigns;
• modification rights;
• credits;
• master recording rights;
• composition and publishing rights.

A licence does not automatically transfer ownership of the music.

The rights granted are always those expressly defined in the relevant agreement.

Music created specifically for a project can be licensed according to its intended use.

This may include music for:

• film and audiovisual productions;
• advertising;
• branded content;
• digital campaigns;
• television;
• online video;
• games and interactive media;
• artist productions;
• installations and other creative projects.

The production fee and the rights granted are considered separately where appropriate.

A non-exclusive licence allows music to be used for an agreed purpose while ownership and the possibility of licensing the work elsewhere remain with the rights holder.

The permitted use may be limited by:

• project;
• medium;
• territory;
• duration;
• campaign;
• distribution channel.

Non-exclusive licensing can be appropriate when full exclusivity is not necessary for the project.

An exclusive licence reserves agreed rights to a particular client, project or use.

Exclusivity may apply to specific:

• media;
• territories;
• industries;
• campaigns;
• periods of time;
• forms of exploitation.

Exclusive licensing does not necessarily mean a complete transfer of copyright or ownership.

The exact scope of exclusivity must be defined in writing.

Where required, broader rights or a complete transfer of specifically agreed rights may be negotiated.

A buyout is not assumed as part of a production fee.

Its terms depend on factors such as:

• intended commercial use;
• duration;
• territory;
• exclusivity;
• media;
• scale of distribution;
• rights being transferred.

Copyright, publishing rights and master rights are distinct rights and may be treated separately.

Any assignment or transfer must be expressly agreed in writing.

Music used together with moving images generally requires synchronisation rights.

Typical uses include:

• films;
• documentaries;
• advertising;
• trailers;
• television;
• online campaigns;
• branded content;
• social media productions;
• games.

Where both the composition and the master recording are controlled by the same rights holder, the licensing process may be handled together.

Where third-party rights are involved, additional permissions may be required.

The master refers to the specific sound recording.

The composition refers to the underlying musical work.

These rights are separate.

A licence involving a recording does not automatically include every right in the underlying composition, and vice versa.

The applicable rights will always be identified before an agreement is finalised.

Original productions presented on this website may have different rights and availability.

Some works may be:

• available for licensing;
• available only for selected uses;
• available for exclusive negotiation;
• already subject to existing rights or agreements;
• unavailable for licensing.

Publication on this website should not be interpreted as automatic availability.

Please enquire about the specific work and intended use.

When working with artists, vocalists or bands, ownership and exploitation rights depend on the nature of the project.

An arrangement or production service does not automatically transfer authorship, master ownership or publishing rights.

These matters are agreed according to the contribution made by each party and the intended release or exploitation of the work.

Where appropriate, credit requirements are included in the licensing or production agreement.

Credits may identify roles such as:

• Music by Rossano Aiello
• Produced by Rossano Aiello
• Arranged by Rossano Aiello
• Music Direction by Rossano Aiello

The appropriate wording depends on the project and the actual creative contribution.

There is no single licensing model suitable for every project.

A local campaign and an international advertising campaign do not require the same rights.

A short-term digital licence and a perpetual worldwide exclusive licence do not have the same value.

The objective is therefore to define only the rights genuinely required by the project.

When enquiring about licensing, it is useful to include:

• the music or project you are interested in;
• type of production;
• intended use;
• media and platforms;
• territory;
• expected duration;
• whether exclusivity is required;
• expected release or campaign date.

If some of these details are not yet known, the project can be defined together.

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For common questions about ownership, exclusivity, master rights, publishing and permitted uses, see the FAQ .