idigmusic.com — Chicago — Original music production
This Is A Filter.Not a trick. A statement. We know who we are, we know who we want, and we'd rather find out in the first thirty seconds than waste either of our time.
Advertising music used to mean a direct call to a composer. Someone who knew your brand, your instincts, your deadline, and your taste. Somewhere along the way a layer appeared between you and that person. This site asks whether you think that layer is an asset — or overhead.
You call a composer. A real one.
Someone who has scored things, played things, bled over things. You describe the campaign. They push back. You talk it through. The music that comes back is specifically yours — exclusive, built for this brief and no other. The relationship is the pipeline. Nobody in the middle.
You send a brief into the system.
It goes to a supervisor. They forward it to forty musicians on spec. Three come back with something usable. You pick one. The supervisor takes a placement fee. The composer gets a fraction. The thirty-nine who didn't land it worked for free. Nobody calls it what it is: a spec contest with a logistics wrapper around it.
Which one
is you?
We're not hiding what we prefer. Button A is who we're looking for. Button B is a real model and plenty of people use it — if that's you, no hard feelings, this just isn't your door. Both buttons are honest. Click the one that's true.
You already know what good sounds like. Let's make something.
You've felt the difference — between music made for your spot and music licensed to it from a field of strangers. You know the room when a track actually lands. You've also felt the other thing: the quiet disappointment when the winning submission is technically acceptable and creatively nothing.
We work directly with advertising creatives who want in on the process — not just the delivery confirmation. No middleware. No spec pool. No hoping the brief survived three layers of inbox. Just a composer who answers the phone, knows your campaign, and has a reason to care how it lands.
Over thirty years in advertising music. Chicago. Direct line. Real conversation.
Got it. You'll hear from us directly — no middleware, no assistant, no delay.
ron@idigmusic.com if you can't wait.
The system is happy to have you.
No contempt — it's a real model. But most people in that pipeline won't tell you what it actually is, so we will.
You're choosing to work with someone who has likely never scored anything, doesn't play an instrument, and whose primary professional skill is forwarding your brief to forty musicians working on spec, hoping one of them guesses correctly what you meant. You'll pay a placement fee to the person in the middle. The composer who made the thing you licensed will receive a fraction of that fee. The thirty-nine who didn't land it worked for nothing. Nobody in that chain calls it what it is.
The supervisor's other core competency? File naming conventions. Stem delivery protocol. Metadata. These are real organizational skills. They are not music skills. They are not taste. They are inbox management with a Spotify playlist running in the background.
When the track is forgettable, no one will say why. When it works, the supervisor gets the credit. The composer gets the smaller check and goes back into the pool.
If that ever stops sounding right — you know where to find us.
Enjoy your stems.
Noted. If the day comes, we'll be here.
No follow-up unless you want one.