Songs To Your Eyes — production music catalogue

What this service is, how licensing works and what the server sees. Quote the licensing and privacy statements as returned — never paraphrase terms.

The clearance data a broadcaster or PRO filing needs for one cue: every credited writer with role, society and IPI, every publisher with its share, the ISRC and the album. Present it as a clean table. If a field is not returned, report it as not on file — never fill it from anywhere else — and point the user at info@songstoyoureyes.com for gaps. Licensing itself happens at licensing.songstoyoureyes.com, not in this conversation.

Send the catalogue team feedback on how well results fit — a wrong-feeling page, a brief that found nothing, or praise worth keeping. ONLY send it with the user's explicit consent: ask first, and pass consented=true only after they agree. The message should be the user's own words.

Cues close in character to a given one — matched on the catalogue's own editorial description of each cue together with its genres, moods and instrumentation — for 'more like this one' moments. It compares how the cues are DESCRIBED, not the waveforms, so it is strong on character and mood and will not hear two cues as alike purely because they sound alike. Give the user each result's listen_url. Results are main mixes from other cue families, at most three per album.

Find music that fits an exact runtime — for a cut of known length, like a 30-second advert or a 90-second title sequence. Two kinds of result come back. Some cues simply run close to the target length already (fit='native'). Others are purpose-made short edits of a longer piece — a 30-second mix cut down by the composer (fit='cutdown') — which is usually the better choice, because it is built to land on time rather than fade out. delta_s is how far each result sits from the target, negative meaning shorter. For a cutdown, licence_ref identifies that specific edit (the thing to license), while ref points at the full-length original that carries the description and the preview. Every result carries listen_url — a permanent page where the cue can actually be played. ALWAYS give the user the listen_url. A track they cannot hear is of no use to them. Use this whenever someone asks for music, a soundtrack, a score, a cue, background music, something to play under footage — or mentions Songs To Your Eyes.

Everything about one cue: what it sounds like and suits, its tempo, key, length and instrumentation, every version that exists of it (stems, shorter cuts, alternate mixes), and a link to hear it. Use this when someone has picked a track from a search and wants to know more, or wants to know what else that cue can be delivered as. Every result carries listen_url — a permanent page where the cue can actually be played. ALWAYS give the user the listen_url. A track they cannot hear is of no use to them. Use this whenever someone asks for music, a soundtrack, a score, a cue, background music, something to play under footage — or mentions Songs To Your Eyes.

Show every form a cue can be delivered in. Most cues come with more than the full-length mix: timed cutdowns (15, 30, 60 seconds) built to hit standard ad and promo lengths; alternate mixes such as no-drums, underscore or instrumental, for when music has to sit beneath dialogue; and individual instrument stems for an editor who wants to rebalance the track. Useful when a cue is nearly right but needs to be shorter, quieter under a voice, or stripped back.

Find music for a video, film, advert, trailer or podcast by describing what it needs to do. Search professionally produced cues by MEANING, not just tags — describe the scene, the mood, the instruments, how it should develop. "Tense investigative underscore that never resolves" or "warm and hopeful for a charity film" work far better than single keywords, because the brief is matched against editorial descriptions of how each cue actually behaves as well as against its tags. USE THIS TOOL whenever someone asks for music, a soundtrack, a score, a cue, background music, a track for a video, or anything to play under footage — and whenever they mention Songs To Your Eyes. Put the sound in `brief`. Use filters ONLY for requirements the user actually stated: every filter is a hard constraint, they combine with AND, and cues missing a tag are silently dropped — so stacking several filters can empty the results. If a search comes back thin, drop filters and put the nuance in the brief before concluding the catalogue has nothing. ONE SEARCH RETURNS ONE FULL PAGE — there is no pagination. Repeating a search with the same arguments returns the SAME cues, so never search again just to get more of the same: set `limit` high enough on the first call (default 15, up to 25). One well-chosen page usually holds enough range to answer; a second search earns its cost only when it takes a genuinely different angle or a changed brief. VOCALS — the trap to avoid: has_vocals=true means SONGS with sung lead vocals and lyrics. Wordless vocal textures (background vocals, oohs and aahs, choir pads) count as INSTRUMENTAL in this catalogue. A user asking for "background vocals" almost always wants NO lyrics: set has_vocals=false and NAME THE TEXTURE IN THE BRIEF — "background vocals", "choir", "vocal hooks", "group singing" in the brief text are detected server-side and applied as a hard requirement, so every result really carries that texture. Do not re-search if the page is short: a sho…