One-stop, every track
I write and own what I license — master and publishing both — so a single agreement clears a track for your project across film, TV, streaming, ad, or promo. No outside co-writers, no uncleared samples, nothing that resurfaces after air.
Written for picture, not just to a genre
I’ve scored over 100 films and shows, so these cues are built to sit under story: the cut, the pacing, the moment. Training under film composer Christopher Young, and work on the Emmy-winning After Forever, Top Chef, and Wicked Tuna.
Fast, direct, and flexible
You work with me, not a library queue. Need a track by an air date, an alt mix, or an edit to length? Tell me the deadline and I’ll confirm up front. License per project, per term, or take a full buyout.
Before you ask
"Is it really one-stop — any third-party samples?"
Yes. I write and own what I license, so there are no outside co-writers and no uncleared samples. One signature covers master and sync.
"Can you hit our air date?"
Tell me the date. I’ll confirm before you commit, and because you deal with me directly I can turn alts, edits, and stems around quickly.
"Will it fit the scene?"
Hear it against your picture. Pull anything close from the catalog and I’ll adjust length or mix if you need it. Listen first, decide second.
Selected work
A few of the brands and networks I've written music for.
- Mattel
- Sony
- HBO
- Microsoft
- Netflix
- Bravo
- Discovery
License a track
Tell me the track and the project — media, term, air date. You’ll get terms and a price back. No obligation.
License a track