Key Takeaways
- Reference tracks in Music Briefing are widely used but often limit originality.
- Many music briefs rely on them due to lack of confidence in articulating intent.
- SONAL removes the need for reference tracks by focusing on creative intent and emotional impact.
- Relying on references often results in derivative, uninspired work.
- Clear, structured briefing without reference tracks leads to more original and impactful compositions.
Table of Contents
1. Why Do Music Briefs Depend on Reference Tracks?
It’s no secret that describing music is hard.
Most people don’t have the vocabulary to explain what they hear in their heads, so they rely on reference tracks as a way to communicate. It’s a shortcut, a way to bridge the gap between creative intent and execution—except, more often than not, it creates more problems than it solves. By using existing tracks, clients unknowingly set creative limitations before the process has even begun.
This isn’t to say reference tracks are entirely useless, but they’re often used out of fear rather than strategy. The industry has normalised their use to the point where they’re expected in nearly every music brief. But are they actually the best way to communicate a vision?
Or are they just an easy way to avoid the harder, more valuable work of articulating what you really want?
👉 Further Reading: How to Write a Killer Music Brief
2. The Hidden Problems With Reference Tracks
At first glance, reference tracks seem like a practical tool—why not use an existing song to guide the composition?
The problem is that they tend to box in creativity rather than expand it. The moment you attach a reference track to a brief, you’re subconsciously setting boundaries around what’s possible. The result? Music that sounds close enough to something that already exists rather than something that is truly fresh and unexpected.
There’s also the issue of creative ceilings. Instead of giving composers the space to explore unique ideas, reference tracks encourage them to mimic. This often leads to music that lacks originality, sounds derivative, or, in the worst cases, feels completely lifeless. Add to that the potential legal headaches of licensing and clearance issues, and you start to see why relying on references is a flawed approach.
If the goal is to create something truly distinct (ad music should not be obvious), something that fits a project perfectly rather than squeezing a pre-existing sound into place – then reference tracks simply aren’t the best tool for the job.
👉 Related Article: 10 Worst Music Briefing Mistakes
3. Breaking the Dependency: A New Approach to Music Briefing
The biggest misconception in music briefing is that you need to describe how something should sound in order to get the right result.
But the real secret is focusing on what the music should do. Instead of dictating instrumentation, tempo, or genre, the briefing process should explore the emotional and narrative impact the music needs to have.
This is where a smarter approach comes in. By shifting the conversation towards intent—what the music should make people feel rather than what it should sound like—you open the door to more creative, unexpected, and ultimately more effective results. Instead of starting with constraints, you start with possibilities.
A great brief doesn’t rely on reference tracks; it builds a foundation for truly original work. It encourages composers to push boundaries rather than follow in someone else’s footsteps. And it results in music that feels personal, purposeful, and powerful.
👉 Learn More: Revolutionise Music Briefing With SONAL
4. How SONAL Works Without Reference Tracks
SONAL isn’t just another way of briefing music—it’s a complete rethinking of how creative teams and composers communicate. Instead of relying on reference tracks to approximate a vision, SONAL extracts the essence of what makes a piece of music work and uses that as a foundation for something new.
The process is structured, interactive, and designed to eliminate uncertainty. Through carefully designed exercises, SONAL uncovers deeper insights about a project’s creative intent. This isn’t about finding a ‘soundalike’—it’s about defining the emotional, strategic, and narrative role of music without dictating the specifics of how it should be executed. The result? More alignment, fewer amends, and a final composition that feels tailor-made rather than templated.
This approach removes the need for reference tracks entirely. Instead of looking backward at existing music, SONAL looks forward—creating sound that is fresh, innovative, and truly aligned with the project’s unique creative needs.
👉 Why It Works: How a Bad Music Brief Can Ruin a Project
5. The Difference in Results: Reference Tracks vs. SONAL Briefing
| Aspect | Reference Tracks | SONAL Briefing |
|---|---|---|
| Creativity | Constrained by existing tracks | Expands creative possibilities |
| Originality | Often derivative | Unpredictable and unique |
| Collaboration | Client-led direction | Interactive and discovery-led |
| Stakeholder Buy-in | Requires approval based on comparison | Generates excitement through unexpected insights |
When you compare the two approaches, the difference is obvious. Reference tracks limit possibilities from the outset, while SONAL briefing expands them. The former is about replication; the latter is about innovation.
If you want work that is truly distinctive, memorable, and aligned with your project’s creative vision, then the choice is clear—ditch the references and embrace a briefing process that prioritises originality.
6. What Happens When You Remove Reference Tracks?
For many, removing reference tracks feels like taking away a safety net. But in reality, it does the opposite—it frees the creative process. When you take away the need to match an existing song, you allow for something entirely new to emerge.
Clients who go through the SONAL process find that they develop a stronger sense of creative confidence. Instead of relying on external examples, they gain a deeper understanding of what they actually want. Meanwhile, composers and sound designers get the freedom to explore truly unique solutions—leading to better, more exciting outcomes.
Originality isn’t a risk. It’s an opportunity. And when you stop relying on reference tracks, you open the door to the kind of work that stands out, rather than blends in.
7. Common Objections – And Why They Don’t Hold Up
- “But I don’t know how to describe what I want!”
- That’s exactly why SONAL exists—it translates your intent into sound without requiring you to ‘speak music.’
- “I need something familiar so I don’t waste money.”
- Familiarity often leads to forgettable work. SONAL ensures you get music that is memorable and impactful.
- “How will I know if I like the track without a reference?”
- Because instead of matching a track, SONAL ensures the music aligns with your creative vision in a much deeper way.
Most of the objections to removing reference tracks are based on fear—fear of the unknown, fear of miscommunication, fear of getting it wrong. But the truth is, reference tracks don’t prevent mistakes; they often cause them. A well-structured briefing process eliminates those fears entirely—while still allowing for creative freedom.
8. Next Steps: Crafting a Music Brief Without Reference Tracks
If you’re ready to step away from reference tracks and towards a more effective way of briefing music, here’s where to start:
- Define your objectives—What is the music’s role in your project?
- Identify key emotional drivers—What should the audience feel when they hear it?
- Use non-musical descriptors—Forget genre; think about energy, movement, and atmosphere.
- Trust the process—When you give composers the right framework, they’ll deliver something far beyond what you could have imagined.
👉 Learn More: Use SONAL for your next project
FAQs
Why are reference tracks used in music briefing?
Because describing music is hard. Most people don’t have the technical vocabulary to explain exactly what they want, so they grab an existing track that feels “close enough.” It’s a shortcut—but one that often limits originality rather than enhancing it.
What if I don’t know how to describe the music I want without a reference track?
That’s exactly why SONAL exists. It’s built for people who don’t “speak music” but still want a soundtrack that aligns perfectly with their vision. Instead of struggling to describe what you think you want, SONAL helps uncover what you actually need.
If reference tracks help communicate musical intent, why are they a problem?
The issue isn’t that reference tracks exist—it’s that they set creative ceilings. Instead of exploring the best possible sound for a project, they encourage composers to replicate something that already exists. This leads to generic, predictable music that lacks real identity.
How do I ensure a composer understands my vision without a reference track?
The key is shifting focus from how the music should sound to what the music should do. Describe the emotional response you want, the narrative beats it should support, or the energy it needs to convey. SONAL guides this process, ensuring nothing gets lost in translation.
