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Cross page · Curation × Commercials

Good music for commercials. It is a craft, not a tag.

Good commercial music is the cue that fits the brand idiom, holds up at broadcast production quality, lands the hook where the supered logo lands, and clears at the source. Four things at once — and the GMP catalog is built for all four.

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curated commercial music · supervisor desk

How licensing works

Three steps. Clean, clear and simple.

  1. Step —01

    Browse

    Search the catalog by style, mood, use, instrumentation, tempo and duration or use Jessica, our AI music supervisor for assistance. Preview the results in seconds.

  2. Step —02

    License

    Direct purchase and download include nearly all licensing you will need, with the exception being in-theatre film release. Subscription-based licensing is covered by an annual blanket license.

  3. Step —03

    Use

    After payment is received for direct purchase or subscription purchase, you will have the appropriate licensing documentation in hand. You are clear to sync the music with your production.

How the library works for you

Nearly every title, ready for the scene.

Nearly every title in the catalog works the same way, built so the version you need already exists.

  • 01

    The full theme, plus alternates

    Each title includes a theme version with all the instrumentation, and usually alternate versions with less instrumentation for quieter moments in the scene.

  • 02

    Broadcast lengths, included

    Most titles include edits at common broadcast lengths of 60, 30, 15, and stingers, plus versions separated by sections or parts.

  • 03

    One standard license

    The standard license covers nearly every use. The only exception is theatrical release, which requires an additional license. Contact us with a request for quote and we will respond quickly with a license that meets your requirements.

Four things good commercial music has to be

The bar is higher than it looks.

  • 01

    Idiomatic to the Brand

    Good commercial music sounds like the brand. Not the spot's tempo, not the spot's mood — the brand's actual cultural register. Catalogs that lean on generic mood tags miss this constantly. Our curation is built from working agency projects first and tag taxonomies second, which is why the shortlists feel like a creative pull and not a search-result page.

  • 02

    Built at Broadcast Production Quality

    A thirty-second TV spot will be encoded, broadcast, streamed, and re-encoded several times before it reaches the viewer. The cue has to survive that chain. Our tracks are mixed and mastered to broadcast standards, with the headroom, dynamic range, and tonal balance the dub stage needs — not the artifact-rich masters bedroom-producer libraries ship.

  • 03

    Cleared Master and Publishing at the Source

    The clearance is the difference between music a campaign can confidently use and music a brand team has to chase paperwork on. Every track is master and publishing cleared at the source, in-perpetuity terms available, and broadcast scope is included by default. No third-party administrators, no co-write surprises, no quarterly renewal cycle.

Proof

GMP by the numbers — curated for commercials

in production music since 1986
40 yrin production music since 1986
tracks vetted to commercial standards
60K+tracks vetted to commercial standards
standard license covers nearly every use
Onestandard license covers nearly every use
master + publishing cleared at
sourcemaster + publishing cleared at

Genres for commercial work

Working lanes across the catalog for the projects that come in every week.

Good commercial music spans the catalog. These are the lanes agency producers pull from most often. Each cross-links to the full genre catalog — or tell us about your project and we'll help you find the music you need.

FAQ for commercial music curation

Questions agency producers ask before they pick a partner.

Four things have to land at once: the cue has to fit the brand's cultural idiom, hold up at broadcast production quality, place the hook where the supered logo lands, and clear at the source. The reason producers keep coming back to GMP is that we treat all four as the minimum.

Craft first, tags second. Every track passes through working music supervisors who curate for real brand work, not just a mood taxonomy. The result is a catalog that pulls like a creative shortlist — fewer tracks per search, more useful tracks per search.

GMP is a licensed production music library — every track is master and publishing cleared at the source, with broadcast scope, monetization rights, and in-perpetuity terms on the same paperwork. One standard license covers nearly every use, so licensing stays clean and simple.

Yes. Tell us about your project — the spot, the storyboard, or the comp reel — and we'll help you find the music you need, curated to the brand idiom rather than a tag search.

With roughly sixty thousand tracks across every working idiom and the catalog growing weekly, the right cue almost always exists somewhere in the library. Send the project or talk to a sales rep, and a supervisor will pull a shortlist against the spot you are building.

About what makes commercial music actually good

Good commercial music is a craft standard, not a tag.

Good music for commercials is one of the most-searched phrases in our category, and one of the most quietly revealing. Agency producers and brand teams type it when the tag-based search has stopped helping — when the mood filter has been set, the genre has been selected, the tempo range has been narrowed, and the results still feel generic. The phrase is a tell. It means the searcher knows there is a craft standard inside commercial music that the surface taxonomy does not capture.

GMP Music has been licensing for commercials since 1986, and the standard rests on four things at once. The cue has to be idiomatic to the brand — not the spot's mood, but the brand's actual cultural register, the place inside contemporary culture the brand is trying to occupy. It has to be built at broadcast production quality, with the mix headroom and tonal balance the encoding chain requires, because a thirty-second spot will be re-encoded several times before the viewer hears it. It has to place the hook where the storytelling places the hook — at the end of the second act, under the supered logo, on the transition to the brand mark. And it has to clear at the source on both master and publishing, with broadcast scope, monetization rights, and the term the campaign actually runs.

GMP is structured as a working music supervisor's catalog — curated to the work, mixed to broadcast standard, cleared at the source, and scaled across enough working composers and genres that the right cue exists for the right spot. Good music for commercials is what happens when the catalog and the curation are built for the same job. That is the job we are built for.

Related

Adjacent pages worth a read.

Your spot deserves a cue that actually fits

Good music for commercials starts here. Send the project.

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