SUISA – What Does It Cost Me?
SUISA – What Does It Cost Me?
TONIQ
·
03.09.2026
Copyright, collecting societies, broadcasting rights: few areas in the communications industry are surrounded by as much uncertainty and half-knowledge as music licensing. This often leads to incorrect assumptions when budgeting or legally risky decisions when choosing audio. A look at the legal basics brings clarity to a topic that is far less complicated in practice than its (outdated) reputation suggests.
To understand the legal side of audio assets, it helps to distinguish between two fundamental components of music licensing: master rights and copyright.
Master rights (part of neighbouring rights): These concern the actual sound recording – in other words, the artistic production of the audio. In commissioned productions, they are licensed directly to the client by the agency or music production company, usually exclusively and for a fixed fee covering an agreed purpose and period. These terms are negotiated directly, which generally makes this part of music licensing fairly straightforward.
Copyright: This protects the intellectual work of composers and authors. In Switzerland, these rights are administered on behalf of the rights holders by SUISA – by GEMA in Germany and AKM in Austria – which also handles the corresponding remuneration.
When does SUISA come into play – and who pays what?
SUISA becomes relevant whenever a copyrighted work is reproduced, publicly performed, broadcast, or distributed online. Its role is to ensure that the creators involved are fairly compensated for the use of their work.
How these fees are handled depends fundamentally on the distribution channel:
Linear media (TV, radio, and cinema): SUISA licence fees are integrated into the statutory payments made by broadcasters or into the media budget. This means there are no additional direct costs or administrative work for the client; the production agency simply needs to register the work correctly with SUISA.
Online usage (social media, web, digital ads): For online campaigns, the copyright fee is calculated based on the actual online media budget (VN-A tariff, currently 2.15%). This fee is invoiced directly to the client by the collecting society and should therefore be included in campaign planning from the start. Particular attention is needed with performance-based campaigns: if the media budget is scaled up because a campaign is performing well, the additional spend is also subject to the 2.15% fee and must be reported to SUISA accordingly.
Two common myths in practice
Myth 1: Stock music is always SUISA-free
The label «Royalty Free» on international stock-music platforms simply means that no direct recurring royalties are charged for the music under that particular licence. However, if the composer of a stock track is a member of a collecting society, the usual SUISA licence fees may still apply when the music is broadcast on TV or radio or used in online advertising. Production music is therefore not automatically free of such fees.
Myth 2: AI-generated music is legally safe
The commercial use of generative AI for brand music currently involves significant compliance risks. Many AI models have been trained on copyrighted material without the provider having obtained the necessary rights. The legal status of purely AI-generated output therefore remains unclear and potentially open to legal challenges from the music industry. Anyone using AI-generated music commercially without assessing the specific legal situation may expose themselves to potential copyright claims and considerable compliance risks.
Clarity instead of uncertainty
The mechanisms of music copyright – regulated in Switzerland under the Copyright Act – are not an obstacle, but the foundation of a fair and sustainable ecosystem between brands, companies, and composers and other rights holders.
Taking the legal framework into account from the beginning creates both budget certainty and legal clarity. At TONIQ, proper licensing, transparent registration, and support with rights-related questions are an integral part of the process. When it comes to SUISA registrations, buyouts, or complex media usage, we support our partners and clients with the necessary expertise.
Practical example: The «Stock Music Trap» for corporate clients
Many production companies and agencies use subscription platforms such as Artlist for client projects. However, the terms of standard subscriptions generally cover only certain project sizes and standard types of usage.
Once a client reaches a certain company size, is publicly listed, or the music is used for national online, TV, or radio campaigns or international campaigns, the standard subscription licence may no longer cover the required usage. A more expensive Enterprise licence then has to be negotiated. Importantly, even if the platform provides the necessary direct sync licence, this does not automatically remove the obligation to register the music with SUISA and account for the relevant copyright usage in advertising campaigns. The result: what looked like a bargain can quickly turn into an expensive licensing issue.
SUISA – What Does It Cost Me?
SUISA – What Does It Cost Me?
TONIQ
·
03.09.2026
Copyright, collecting societies, broadcasting rights: few areas in the communications industry are surrounded by as much uncertainty and half-knowledge as music licensing. This often leads to incorrect assumptions when budgeting or legally risky decisions when choosing audio. A look at the legal basics brings clarity to a topic that is far less complicated in practice than its (outdated) reputation suggests.
To understand the legal side of audio assets, it helps to distinguish between two fundamental components of music licensing: master rights and copyright.
Master rights (part of neighbouring rights): These concern the actual sound recording – in other words, the artistic production of the audio. In commissioned productions, they are licensed directly to the client by the agency or music production company, usually exclusively and for a fixed fee covering an agreed purpose and period. These terms are negotiated directly, which generally makes this part of music licensing fairly straightforward.
Copyright: This protects the intellectual work of composers and authors. In Switzerland, these rights are administered on behalf of the rights holders by SUISA – by GEMA in Germany and AKM in Austria – which also handles the corresponding remuneration.
When does SUISA come into play – and who pays what?
SUISA becomes relevant whenever a copyrighted work is reproduced, publicly performed, broadcast, or distributed online. Its role is to ensure that the creators involved are fairly compensated for the use of their work.
How these fees are handled depends fundamentally on the distribution channel:
Linear media (TV, radio, and cinema): SUISA licence fees are integrated into the statutory payments made by broadcasters or into the media budget. This means there are no additional direct costs or administrative work for the client; the production agency simply needs to register the work correctly with SUISA.
Online usage (social media, web, digital ads): For online campaigns, the copyright fee is calculated based on the actual online media budget (VN-A tariff, currently 2.15%). This fee is invoiced directly to the client by the collecting society and should therefore be included in campaign planning from the start. Particular attention is needed with performance-based campaigns: if the media budget is scaled up because a campaign is performing well, the additional spend is also subject to the 2.15% fee and must be reported to SUISA accordingly.
Two common myths in practice
Myth 1: Stock music is always SUISA-free
The label «Royalty Free» on international stock-music platforms simply means that no direct recurring royalties are charged for the music under that particular licence. However, if the composer of a stock track is a member of a collecting society, the usual SUISA licence fees may still apply when the music is broadcast on TV or radio or used in online advertising. Production music is therefore not automatically free of such fees.
Myth 2: AI-generated music is legally safe
The commercial use of generative AI for brand music currently involves significant compliance risks. Many AI models have been trained on copyrighted material without the provider having obtained the necessary rights. The legal status of purely AI-generated output therefore remains unclear and potentially open to legal challenges from the music industry. Anyone using AI-generated music commercially without assessing the specific legal situation may expose themselves to potential copyright claims and considerable compliance risks.
Clarity instead of uncertainty
The mechanisms of music copyright – regulated in Switzerland under the Copyright Act – are not an obstacle, but the foundation of a fair and sustainable ecosystem between brands, companies, and composers and other rights holders.
Taking the legal framework into account from the beginning creates both budget certainty and legal clarity. At TONIQ, proper licensing, transparent registration, and support with rights-related questions are an integral part of the process. When it comes to SUISA registrations, buyouts, or complex media usage, we support our partners and clients with the necessary expertise.
Practical example: The «Stock Music Trap» for corporate clients
Many production companies and agencies use subscription platforms such as Artlist for client projects. However, the terms of standard subscriptions generally cover only certain project sizes and standard types of usage.
Once a client reaches a certain company size, is publicly listed, or the music is used for national online, TV, or radio campaigns or international campaigns, the standard subscription licence may no longer cover the required usage. A more expensive Enterprise licence then has to be negotiated. Importantly, even if the platform provides the necessary direct sync licence, this does not automatically remove the obligation to register the music with SUISA and account for the relevant copyright usage in advertising campaigns. The result: what looked like a bargain can quickly turn into an expensive licensing issue.
SUISA – What Does It Cost Me?
SUISA – What Does It Cost Me?
TONIQ
·
03.09.2026
Copyright, collecting societies, broadcasting rights: few areas in the communications industry are surrounded by as much uncertainty and half-knowledge as music licensing. This often leads to incorrect assumptions when budgeting or legally risky decisions when choosing audio. A look at the legal basics brings clarity to a topic that is far less complicated in practice than its (outdated) reputation suggests.
To understand the legal side of audio assets, it helps to distinguish between two fundamental components of music licensing: master rights and copyright.
Master rights (part of neighbouring rights): These concern the actual sound recording – in other words, the artistic production of the audio. In commissioned productions, they are licensed directly to the client by the agency or music production company, usually exclusively and for a fixed fee covering an agreed purpose and period. These terms are negotiated directly, which generally makes this part of music licensing fairly straightforward.
Copyright: This protects the intellectual work of composers and authors. In Switzerland, these rights are administered on behalf of the rights holders by SUISA – by GEMA in Germany and AKM in Austria – which also handles the corresponding remuneration.
When does SUISA come into play – and who pays what?
SUISA becomes relevant whenever a copyrighted work is reproduced, publicly performed, broadcast, or distributed online. Its role is to ensure that the creators involved are fairly compensated for the use of their work.
How these fees are handled depends fundamentally on the distribution channel:
Linear media (TV, radio, and cinema): SUISA licence fees are integrated into the statutory payments made by broadcasters or into the media budget. This means there are no additional direct costs or administrative work for the client; the production agency simply needs to register the work correctly with SUISA.
Online usage (social media, web, digital ads): For online campaigns, the copyright fee is calculated based on the actual online media budget (VN-A tariff, currently 2.15%). This fee is invoiced directly to the client by the collecting society and should therefore be included in campaign planning from the start. Particular attention is needed with performance-based campaigns: if the media budget is scaled up because a campaign is performing well, the additional spend is also subject to the 2.15% fee and must be reported to SUISA accordingly.
Two common myths in practice
Myth 1: Stock music is always SUISA-free
The label «Royalty Free» on international stock-music platforms simply means that no direct recurring royalties are charged for the music under that particular licence. However, if the composer of a stock track is a member of a collecting society, the usual SUISA licence fees may still apply when the music is broadcast on TV or radio or used in online advertising. Production music is therefore not automatically free of such fees.
Myth 2: AI-generated music is legally safe
The commercial use of generative AI for brand music currently involves significant compliance risks. Many AI models have been trained on copyrighted material without the provider having obtained the necessary rights. The legal status of purely AI-generated output therefore remains unclear and potentially open to legal challenges from the music industry. Anyone using AI-generated music commercially without assessing the specific legal situation may expose themselves to potential copyright claims and considerable compliance risks.
Clarity instead of uncertainty
The mechanisms of music copyright – regulated in Switzerland under the Copyright Act – are not an obstacle, but the foundation of a fair and sustainable ecosystem between brands, companies, and composers and other rights holders.
Taking the legal framework into account from the beginning creates both budget certainty and legal clarity. At TONIQ, proper licensing, transparent registration, and support with rights-related questions are an integral part of the process. When it comes to SUISA registrations, buyouts, or complex media usage, we support our partners and clients with the necessary expertise.
Practical example: The «Stock Music Trap» for corporate clients
Many production companies and agencies use subscription platforms such as Artlist for client projects. However, the terms of standard subscriptions generally cover only certain project sizes and standard types of usage.
Once a client reaches a certain company size, is publicly listed, or the music is used for national online, TV, or radio campaigns or international campaigns, the standard subscription licence may no longer cover the required usage. A more expensive Enterprise licence then has to be negotiated. Importantly, even if the platform provides the necessary direct sync licence, this does not automatically remove the obligation to register the music with SUISA and account for the relevant copyright usage in advertising campaigns. The result: what looked like a bargain can quickly turn into an expensive licensing issue.
SUISA – What Does It Cost Me?
SUISA – What Does It Cost Me?
TONIQ
·
03.09.2026
Copyright, collecting societies, broadcasting rights: few areas in the communications industry are surrounded by as much uncertainty and half-knowledge as music licensing. This often leads to incorrect assumptions when budgeting or legally risky decisions when choosing audio. A look at the legal basics brings clarity to a topic that is far less complicated in practice than its (outdated) reputation suggests.
To understand the legal side of audio assets, it helps to distinguish between two fundamental components of music licensing: master rights and copyright.
Master rights (part of neighbouring rights): These concern the actual sound recording – in other words, the artistic production of the audio. In commissioned productions, they are licensed directly to the client by the agency or music production company, usually exclusively and for a fixed fee covering an agreed purpose and period. These terms are negotiated directly, which generally makes this part of music licensing fairly straightforward.
Copyright: This protects the intellectual work of composers and authors. In Switzerland, these rights are administered on behalf of the rights holders by SUISA – by GEMA in Germany and AKM in Austria – which also handles the corresponding remuneration.
When does SUISA come into play – and who pays what?
SUISA becomes relevant whenever a copyrighted work is reproduced, publicly performed, broadcast, or distributed online. Its role is to ensure that the creators involved are fairly compensated for the use of their work.
How these fees are handled depends fundamentally on the distribution channel:
Linear media (TV, radio, and cinema): SUISA licence fees are integrated into the statutory payments made by broadcasters or into the media budget. This means there are no additional direct costs or administrative work for the client; the production agency simply needs to register the work correctly with SUISA.
Online usage (social media, web, digital ads): For online campaigns, the copyright fee is calculated based on the actual online media budget (VN-A tariff, currently 2.15%). This fee is invoiced directly to the client by the collecting society and should therefore be included in campaign planning from the start. Particular attention is needed with performance-based campaigns: if the media budget is scaled up because a campaign is performing well, the additional spend is also subject to the 2.15% fee and must be reported to SUISA accordingly.
Two common myths in practice
Myth 1: Stock music is always SUISA-free
The label «Royalty Free» on international stock-music platforms simply means that no direct recurring royalties are charged for the music under that particular licence. However, if the composer of a stock track is a member of a collecting society, the usual SUISA licence fees may still apply when the music is broadcast on TV or radio or used in online advertising. Production music is therefore not automatically free of such fees.
Myth 2: AI-generated music is legally safe
The commercial use of generative AI for brand music currently involves significant compliance risks. Many AI models have been trained on copyrighted material without the provider having obtained the necessary rights. The legal status of purely AI-generated output therefore remains unclear and potentially open to legal challenges from the music industry. Anyone using AI-generated music commercially without assessing the specific legal situation may expose themselves to potential copyright claims and considerable compliance risks.
Clarity instead of uncertainty
The mechanisms of music copyright – regulated in Switzerland under the Copyright Act – are not an obstacle, but the foundation of a fair and sustainable ecosystem between brands, companies, and composers and other rights holders.
Taking the legal framework into account from the beginning creates both budget certainty and legal clarity. At TONIQ, proper licensing, transparent registration, and support with rights-related questions are an integral part of the process. When it comes to SUISA registrations, buyouts, or complex media usage, we support our partners and clients with the necessary expertise.
Practical example: The «Stock Music Trap» for corporate clients
Many production companies and agencies use subscription platforms such as Artlist for client projects. However, the terms of standard subscriptions generally cover only certain project sizes and standard types of usage.
Once a client reaches a certain company size, is publicly listed, or the music is used for national online, TV, or radio campaigns or international campaigns, the standard subscription licence may no longer cover the required usage. A more expensive Enterprise licence then has to be negotiated. Importantly, even if the platform provides the necessary direct sync licence, this does not automatically remove the obligation to register the music with SUISA and account for the relevant copyright usage in advertising campaigns. The result: what looked like a bargain can quickly turn into an expensive licensing issue.
SUISA – What Does It Cost Me?
SUISA – What Does It Cost Me?
TONIQ
·
03.09.2026
Copyright, collecting societies, broadcasting rights: few areas in the communications industry are surrounded by as much uncertainty and half-knowledge as music licensing. This often leads to incorrect assumptions when budgeting or legally risky decisions when choosing audio. A look at the legal basics brings clarity to a topic that is far less complicated in practice than its (outdated) reputation suggests.
To understand the legal side of audio assets, it helps to distinguish between two fundamental components of music licensing: master rights and copyright.
Master rights (part of neighbouring rights): These concern the actual sound recording – in other words, the artistic production of the audio. In commissioned productions, they are licensed directly to the client by the agency or music production company, usually exclusively and for a fixed fee covering an agreed purpose and period. These terms are negotiated directly, which generally makes this part of music licensing fairly straightforward.
Copyright: This protects the intellectual work of composers and authors. In Switzerland, these rights are administered on behalf of the rights holders by SUISA – by GEMA in Germany and AKM in Austria – which also handles the corresponding remuneration.
When does SUISA come into play – and who pays what?
SUISA becomes relevant whenever a copyrighted work is reproduced, publicly performed, broadcast, or distributed online. Its role is to ensure that the creators involved are fairly compensated for the use of their work.
How these fees are handled depends fundamentally on the distribution channel:
Linear media (TV, radio, and cinema): SUISA licence fees are integrated into the statutory payments made by broadcasters or into the media budget. This means there are no additional direct costs or administrative work for the client; the production agency simply needs to register the work correctly with SUISA.
Online usage (social media, web, digital ads): For online campaigns, the copyright fee is calculated based on the actual online media budget (VN-A tariff, currently 2.15%). This fee is invoiced directly to the client by the collecting society and should therefore be included in campaign planning from the start. Particular attention is needed with performance-based campaigns: if the media budget is scaled up because a campaign is performing well, the additional spend is also subject to the 2.15% fee and must be reported to SUISA accordingly.
Two common myths in practice
Myth 1: Stock music is always SUISA-free
The label «Royalty Free» on international stock-music platforms simply means that no direct recurring royalties are charged for the music under that particular licence. However, if the composer of a stock track is a member of a collecting society, the usual SUISA licence fees may still apply when the music is broadcast on TV or radio or used in online advertising. Production music is therefore not automatically free of such fees.
Myth 2: AI-generated music is legally safe
The commercial use of generative AI for brand music currently involves significant compliance risks. Many AI models have been trained on copyrighted material without the provider having obtained the necessary rights. The legal status of purely AI-generated output therefore remains unclear and potentially open to legal challenges from the music industry. Anyone using AI-generated music commercially without assessing the specific legal situation may expose themselves to potential copyright claims and considerable compliance risks.
Clarity instead of uncertainty
The mechanisms of music copyright – regulated in Switzerland under the Copyright Act – are not an obstacle, but the foundation of a fair and sustainable ecosystem between brands, companies, and composers and other rights holders.
Taking the legal framework into account from the beginning creates both budget certainty and legal clarity. At TONIQ, proper licensing, transparent registration, and support with rights-related questions are an integral part of the process. When it comes to SUISA registrations, buyouts, or complex media usage, we support our partners and clients with the necessary expertise.
Practical example: The «Stock Music Trap» for corporate clients
Many production companies and agencies use subscription platforms such as Artlist for client projects. However, the terms of standard subscriptions generally cover only certain project sizes and standard types of usage.
Once a client reaches a certain company size, is publicly listed, or the music is used for national online, TV, or radio campaigns or international campaigns, the standard subscription licence may no longer cover the required usage. A more expensive Enterprise licence then has to be negotiated. Importantly, even if the platform provides the necessary direct sync licence, this does not automatically remove the obligation to register the music with SUISA and account for the relevant copyright usage in advertising campaigns. The result: what looked like a bargain can quickly turn into an expensive licensing issue.
SUISA – What Does It Cost Me?
SUISA – What Does It Cost Me?
TONIQ
·
03.09.2026
Copyright, collecting societies, broadcasting rights: few areas in the communications industry are surrounded by as much uncertainty and half-knowledge as music licensing. This often leads to incorrect assumptions when budgeting or legally risky decisions when choosing audio. A look at the legal basics brings clarity to a topic that is far less complicated in practice than its (outdated) reputation suggests.
To understand the legal side of audio assets, it helps to distinguish between two fundamental components of music licensing: master rights and copyright.
Master rights (part of neighbouring rights): These concern the actual sound recording – in other words, the artistic production of the audio. In commissioned productions, they are licensed directly to the client by the agency or music production company, usually exclusively and for a fixed fee covering an agreed purpose and period. These terms are negotiated directly, which generally makes this part of music licensing fairly straightforward.
Copyright: This protects the intellectual work of composers and authors. In Switzerland, these rights are administered on behalf of the rights holders by SUISA – by GEMA in Germany and AKM in Austria – which also handles the corresponding remuneration.
When does SUISA come into play – and who pays what?
SUISA becomes relevant whenever a copyrighted work is reproduced, publicly performed, broadcast, or distributed online. Its role is to ensure that the creators involved are fairly compensated for the use of their work.
How these fees are handled depends fundamentally on the distribution channel:
Linear media (TV, radio, and cinema): SUISA licence fees are integrated into the statutory payments made by broadcasters or into the media budget. This means there are no additional direct costs or administrative work for the client; the production agency simply needs to register the work correctly with SUISA.
Online usage (social media, web, digital ads): For online campaigns, the copyright fee is calculated based on the actual online media budget (VN-A tariff, currently 2.15%). This fee is invoiced directly to the client by the collecting society and should therefore be included in campaign planning from the start. Particular attention is needed with performance-based campaigns: if the media budget is scaled up because a campaign is performing well, the additional spend is also subject to the 2.15% fee and must be reported to SUISA accordingly.
Two common myths in practice
Myth 1: Stock music is always SUISA-free
The label «Royalty Free» on international stock-music platforms simply means that no direct recurring royalties are charged for the music under that particular licence. However, if the composer of a stock track is a member of a collecting society, the usual SUISA licence fees may still apply when the music is broadcast on TV or radio or used in online advertising. Production music is therefore not automatically free of such fees.
Myth 2: AI-generated music is legally safe
The commercial use of generative AI for brand music currently involves significant compliance risks. Many AI models have been trained on copyrighted material without the provider having obtained the necessary rights. The legal status of purely AI-generated output therefore remains unclear and potentially open to legal challenges from the music industry. Anyone using AI-generated music commercially without assessing the specific legal situation may expose themselves to potential copyright claims and considerable compliance risks.
Clarity instead of uncertainty
The mechanisms of music copyright – regulated in Switzerland under the Copyright Act – are not an obstacle, but the foundation of a fair and sustainable ecosystem between brands, companies, and composers and other rights holders.
Taking the legal framework into account from the beginning creates both budget certainty and legal clarity. At TONIQ, proper licensing, transparent registration, and support with rights-related questions are an integral part of the process. When it comes to SUISA registrations, buyouts, or complex media usage, we support our partners and clients with the necessary expertise.
Practical example: The «Stock Music Trap» for corporate clients
Many production companies and agencies use subscription platforms such as Artlist for client projects. However, the terms of standard subscriptions generally cover only certain project sizes and standard types of usage.
Once a client reaches a certain company size, is publicly listed, or the music is used for national online, TV, or radio campaigns or international campaigns, the standard subscription licence may no longer cover the required usage. A more expensive Enterprise licence then has to be negotiated. Importantly, even if the platform provides the necessary direct sync licence, this does not automatically remove the obligation to register the music with SUISA and account for the relevant copyright usage in advertising campaigns. The result: what looked like a bargain can quickly turn into an expensive licensing issue.
SUISA – What Does It Cost Me?
SUISA – What Does It Cost Me?
TONIQ
·
03.09.2026
Copyright, collecting societies, broadcasting rights: few areas in the communications industry are surrounded by as much uncertainty and half-knowledge as music licensing. This often leads to incorrect assumptions when budgeting or legally risky decisions when choosing audio. A look at the legal basics brings clarity to a topic that is far less complicated in practice than its (outdated) reputation suggests.
To understand the legal side of audio assets, it helps to distinguish between two fundamental components of music licensing: master rights and copyright.
Master rights (part of neighbouring rights): These concern the actual sound recording – in other words, the artistic production of the audio. In commissioned productions, they are licensed directly to the client by the agency or music production company, usually exclusively and for a fixed fee covering an agreed purpose and period. These terms are negotiated directly, which generally makes this part of music licensing fairly straightforward.
Copyright: This protects the intellectual work of composers and authors. In Switzerland, these rights are administered on behalf of the rights holders by SUISA – by GEMA in Germany and AKM in Austria – which also handles the corresponding remuneration.
When does SUISA come into play – and who pays what?
SUISA becomes relevant whenever a copyrighted work is reproduced, publicly performed, broadcast, or distributed online. Its role is to ensure that the creators involved are fairly compensated for the use of their work.
How these fees are handled depends fundamentally on the distribution channel:
Linear media (TV, radio, and cinema): SUISA licence fees are integrated into the statutory payments made by broadcasters or into the media budget. This means there are no additional direct costs or administrative work for the client; the production agency simply needs to register the work correctly with SUISA.
Online usage (social media, web, digital ads): For online campaigns, the copyright fee is calculated based on the actual online media budget (VN-A tariff, currently 2.15%). This fee is invoiced directly to the client by the collecting society and should therefore be included in campaign planning from the start. Particular attention is needed with performance-based campaigns: if the media budget is scaled up because a campaign is performing well, the additional spend is also subject to the 2.15% fee and must be reported to SUISA accordingly.
Two common myths in practice
Myth 1: Stock music is always SUISA-free
The label «Royalty Free» on international stock-music platforms simply means that no direct recurring royalties are charged for the music under that particular licence. However, if the composer of a stock track is a member of a collecting society, the usual SUISA licence fees may still apply when the music is broadcast on TV or radio or used in online advertising. Production music is therefore not automatically free of such fees.
Myth 2: AI-generated music is legally safe
The commercial use of generative AI for brand music currently involves significant compliance risks. Many AI models have been trained on copyrighted material without the provider having obtained the necessary rights. The legal status of purely AI-generated output therefore remains unclear and potentially open to legal challenges from the music industry. Anyone using AI-generated music commercially without assessing the specific legal situation may expose themselves to potential copyright claims and considerable compliance risks.
Clarity instead of uncertainty
The mechanisms of music copyright – regulated in Switzerland under the Copyright Act – are not an obstacle, but the foundation of a fair and sustainable ecosystem between brands, companies, and composers and other rights holders.
Taking the legal framework into account from the beginning creates both budget certainty and legal clarity. At TONIQ, proper licensing, transparent registration, and support with rights-related questions are an integral part of the process. When it comes to SUISA registrations, buyouts, or complex media usage, we support our partners and clients with the necessary expertise.
Practical example: The «Stock Music Trap» for corporate clients
Many production companies and agencies use subscription platforms such as Artlist for client projects. However, the terms of standard subscriptions generally cover only certain project sizes and standard types of usage.
Once a client reaches a certain company size, is publicly listed, or the music is used for national online, TV, or radio campaigns or international campaigns, the standard subscription licence may no longer cover the required usage. A more expensive Enterprise licence then has to be negotiated. Importantly, even if the platform provides the necessary direct sync licence, this does not automatically remove the obligation to register the music with SUISA and account for the relevant copyright usage in advertising campaigns. The result: what looked like a bargain can quickly turn into an expensive licensing issue.
SUISA – What Does It Cost Me?
SUISA – What Does It Cost Me?
TONIQ
·
03.09.2026
Copyright, collecting societies, broadcasting rights: few areas in the communications industry are surrounded by as much uncertainty and half-knowledge as music licensing. This often leads to incorrect assumptions when budgeting or legally risky decisions when choosing audio. A look at the legal basics brings clarity to a topic that is far less complicated in practice than its (outdated) reputation suggests.
To understand the legal side of audio assets, it helps to distinguish between two fundamental components of music licensing: master rights and copyright.
Master rights (part of neighbouring rights): These concern the actual sound recording – in other words, the artistic production of the audio. In commissioned productions, they are licensed directly to the client by the agency or music production company, usually exclusively and for a fixed fee covering an agreed purpose and period. These terms are negotiated directly, which generally makes this part of music licensing fairly straightforward.
Copyright: This protects the intellectual work of composers and authors. In Switzerland, these rights are administered on behalf of the rights holders by SUISA – by GEMA in Germany and AKM in Austria – which also handles the corresponding remuneration.
When does SUISA come into play – and who pays what?
SUISA becomes relevant whenever a copyrighted work is reproduced, publicly performed, broadcast, or distributed online. Its role is to ensure that the creators involved are fairly compensated for the use of their work.
How these fees are handled depends fundamentally on the distribution channel:
Linear media (TV, radio, and cinema): SUISA licence fees are integrated into the statutory payments made by broadcasters or into the media budget. This means there are no additional direct costs or administrative work for the client; the production agency simply needs to register the work correctly with SUISA.
Online usage (social media, web, digital ads): For online campaigns, the copyright fee is calculated based on the actual online media budget (VN-A tariff, currently 2.15%). This fee is invoiced directly to the client by the collecting society and should therefore be included in campaign planning from the start. Particular attention is needed with performance-based campaigns: if the media budget is scaled up because a campaign is performing well, the additional spend is also subject to the 2.15% fee and must be reported to SUISA accordingly.
Two common myths in practice
Myth 1: Stock music is always SUISA-free
The label «Royalty Free» on international stock-music platforms simply means that no direct recurring royalties are charged for the music under that particular licence. However, if the composer of a stock track is a member of a collecting society, the usual SUISA licence fees may still apply when the music is broadcast on TV or radio or used in online advertising. Production music is therefore not automatically free of such fees.
Myth 2: AI-generated music is legally safe
The commercial use of generative AI for brand music currently involves significant compliance risks. Many AI models have been trained on copyrighted material without the provider having obtained the necessary rights. The legal status of purely AI-generated output therefore remains unclear and potentially open to legal challenges from the music industry. Anyone using AI-generated music commercially without assessing the specific legal situation may expose themselves to potential copyright claims and considerable compliance risks.
Clarity instead of uncertainty
The mechanisms of music copyright – regulated in Switzerland under the Copyright Act – are not an obstacle, but the foundation of a fair and sustainable ecosystem between brands, companies, and composers and other rights holders.
Taking the legal framework into account from the beginning creates both budget certainty and legal clarity. At TONIQ, proper licensing, transparent registration, and support with rights-related questions are an integral part of the process. When it comes to SUISA registrations, buyouts, or complex media usage, we support our partners and clients with the necessary expertise.
Practical example: The «Stock Music Trap» for corporate clients
Many production companies and agencies use subscription platforms such as Artlist for client projects. However, the terms of standard subscriptions generally cover only certain project sizes and standard types of usage.
Once a client reaches a certain company size, is publicly listed, or the music is used for national online, TV, or radio campaigns or international campaigns, the standard subscription licence may no longer cover the required usage. A more expensive Enterprise licence then has to be negotiated. Importantly, even if the platform provides the necessary direct sync licence, this does not automatically remove the obligation to register the music with SUISA and account for the relevant copyright usage in advertising campaigns. The result: what looked like a bargain can quickly turn into an expensive licensing issue.
SUISA – What Does It Cost Me?
SUISA – What Does It Cost Me?
TONIQ
·
03.09.2026
Copyright, collecting societies, broadcasting rights: few areas in the communications industry are surrounded by as much uncertainty and half-knowledge as music licensing. This often leads to incorrect assumptions when budgeting or legally risky decisions when choosing audio. A look at the legal basics brings clarity to a topic that is far less complicated in practice than its (outdated) reputation suggests.
To understand the legal side of audio assets, it helps to distinguish between two fundamental components of music licensing: master rights and copyright.
Master rights (part of neighbouring rights): These concern the actual sound recording – in other words, the artistic production of the audio. In commissioned productions, they are licensed directly to the client by the agency or music production company, usually exclusively and for a fixed fee covering an agreed purpose and period. These terms are negotiated directly, which generally makes this part of music licensing fairly straightforward.
Copyright: This protects the intellectual work of composers and authors. In Switzerland, these rights are administered on behalf of the rights holders by SUISA – by GEMA in Germany and AKM in Austria – which also handles the corresponding remuneration.
When does SUISA come into play – and who pays what?
SUISA becomes relevant whenever a copyrighted work is reproduced, publicly performed, broadcast, or distributed online. Its role is to ensure that the creators involved are fairly compensated for the use of their work.
How these fees are handled depends fundamentally on the distribution channel:
Linear media (TV, radio, and cinema): SUISA licence fees are integrated into the statutory payments made by broadcasters or into the media budget. This means there are no additional direct costs or administrative work for the client; the production agency simply needs to register the work correctly with SUISA.
Online usage (social media, web, digital ads): For online campaigns, the copyright fee is calculated based on the actual online media budget (VN-A tariff, currently 2.15%). This fee is invoiced directly to the client by the collecting society and should therefore be included in campaign planning from the start. Particular attention is needed with performance-based campaigns: if the media budget is scaled up because a campaign is performing well, the additional spend is also subject to the 2.15% fee and must be reported to SUISA accordingly.
Two common myths in practice
Myth 1: Stock music is always SUISA-free
The label «Royalty Free» on international stock-music platforms simply means that no direct recurring royalties are charged for the music under that particular licence. However, if the composer of a stock track is a member of a collecting society, the usual SUISA licence fees may still apply when the music is broadcast on TV or radio or used in online advertising. Production music is therefore not automatically free of such fees.
Myth 2: AI-generated music is legally safe
The commercial use of generative AI for brand music currently involves significant compliance risks. Many AI models have been trained on copyrighted material without the provider having obtained the necessary rights. The legal status of purely AI-generated output therefore remains unclear and potentially open to legal challenges from the music industry. Anyone using AI-generated music commercially without assessing the specific legal situation may expose themselves to potential copyright claims and considerable compliance risks.
Clarity instead of uncertainty
The mechanisms of music copyright – regulated in Switzerland under the Copyright Act – are not an obstacle, but the foundation of a fair and sustainable ecosystem between brands, companies, and composers and other rights holders.
Taking the legal framework into account from the beginning creates both budget certainty and legal clarity. At TONIQ, proper licensing, transparent registration, and support with rights-related questions are an integral part of the process. When it comes to SUISA registrations, buyouts, or complex media usage, we support our partners and clients with the necessary expertise.
Practical example: The «Stock Music Trap» for corporate clients
Many production companies and agencies use subscription platforms such as Artlist for client projects. However, the terms of standard subscriptions generally cover only certain project sizes and standard types of usage.
Once a client reaches a certain company size, is publicly listed, or the music is used for national online, TV, or radio campaigns or international campaigns, the standard subscription licence may no longer cover the required usage. A more expensive Enterprise licence then has to be negotiated. Importantly, even if the platform provides the necessary direct sync licence, this does not automatically remove the obligation to register the music with SUISA and account for the relevant copyright usage in advertising campaigns. The result: what looked like a bargain can quickly turn into an expensive licensing issue.