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Bio
Author • Producer • Sync Specialist 🎹Heard on NBC, CBS, Netflix, etc. I teach producers how to land TV placements 📺
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Recent posts
Every family has a music guy. You run the aux, you fix the speakers, and every holiday somebody asks if you're still doing the music thing. This year, start working toward a different answer. Make a track for a scene instead of a fan. Get it to a publisher. Follow up with new music. Results take time and nothing is guaranteed, but the first signed track changes the conversation.
Comment SYNC and I'll send you the details on how to get started.
07 Nov 2026
Most first pitches fail because they try to do too much. The first email has one job: get a reply. Say who you are and ask if they're open to new composers. That's it. When they write back, ask what they need. Then send three to five of those a day for thirty days, and follow up with new music three weeks later.
Comment SYNC and I'll send you the details on how to get started.
07 Nov 2026
Save this one. Short intro, a build, a full hook, strip back, a bigger final hook, and a sting ending. Tension and ambient cues can be looser, and sports cues need clean loop points, but the sting ending applies to everything. No fade outs.
Comment SYNC and I'll send you the details on how to get started.
06 Nov 2026
Our song soundtracked this year’s @shadesofsync Conference!! IM STILL ON A HIGH 🤦🏿♂️🔥
⠀⠀⠀
People have always told me my music belongs in movies and tv shows. At the time, it sounded good but I truly didn’t know which doors to knock on to make that happen. I’ve spent the past few years being more intentional about my creativity. Winning the 2026 Brief Beast challenge is a huge confirmation of my journey but the grind continues. This W wouldn’t have happened without my collab with @tcinthemixmusic on “Let’s Go”. Sensei @xj_will helped me sharpen my Sync blade and I can’t thank him enough for that. Along with his Shades Conference co-organizer, @clintmusic. Thank you for opening up this fire opportunity. Peep the last slide to hear a snippet of our song. 🙏🏿🙏🏿🙏🏿
I’m honored & Y’all are highly appreciated!! #LetsGo #BeltBoys
06 Nov 2026
People ask me for my library list all the time. I don't give it out, because companies close, get bought and change deals. Here's how to find your own instead: library label pages, LinkedIn, show credits, and Google past the ads.
Comment SYNC and I'll send you the details on how to get started.
06 Nov 2026
Not every library is worth your music. Before you sign, check how long they've been around, when their last placement was, who their clients are, and whether they show their work. Three years without a placement is a red flag.
Comment SYNC and I'll send you the details on how to get started.
05 Nov 2026
Two lines to look for in any sync deal. One: a request to opt out of your PRO. That gives up your performance royalties, so walk away. Two: the word buyout. Sometimes it only covers the upfront fee and you keep royalties. Sometimes it covers everything. Always ask. I'm not a lawyer, and this isn't legal advice, so have anything big reviewed.
Comment SYNC and I'll send you the details on how to get started.
05 Nov 2026
Five tracks is the sweet spot for a first pitch. Strongest first, one sound, matched to what that company places. Send the same five to as many publishers as you can at once. If two say yes, tell the second one the truth and offer more.
Comment SYNC and I'll send you the details on how to get started.
04 Nov 2026
A publisher hit me up asking for dramedy hip hop for France TV.
I already knew exactly what that meant from previous work for them. Drama plus comedy. Emotional but not heavy. The kind of music that rides under a scene without stealing it from the actors.
So I got to work.
Structured it to breathe. Kept the layers minimal. Left room for the story to sit on top of the music instead of competing with it.
This is what producing music for TV and film (sync licensing) actually looks like for producers. Publishers tell you what they need and you deliver it. No guessing. No hoping someone stumbles across your SoundCloud.
If you want to learn how to position yourself so publishers are coming to you with briefs like this, comment SYNC below.
04 Nov 2026
I once missed a brief deadline by four days. I went into old sessions, restructured two unfinished ideas, wrote a third track, and sent all three that night. The publisher came back with an agreement. Keep your old sessions and name them so you can find them. I've been doing this since 2013, and results like this vary a lot.
Comment SYNC and I'll send you the details on how to get started.
04 Nov 2026
The best time to start sync licensing was before the layoff. The next best time is now.
Sync is a slow build. A track can take months to get signed, more months to get placed, and royalties show up after the episode airs. That's why the work you do today matters more than the work you plan to do someday.
So keep it simple this week. Finish three instrumentals with clean endings. Register with ASCAP, BMI or SESAC so the money can find you. Then email three publishers whose catalogs fit your sound, in three sentences or less, and ask what they need.
After that, it's a habit. Four hours a week adds up to a catalog over a year.
There are no guarantees in sync, and results vary a lot from producer to producer. What you control is whether you start.
Comment SYNC and I'll send you the details on how to get started.
03 Nov 2026
Most of us do this job completely alone. That is not normal, and I do not think people realize what it costs them.
Think about it. No coworkers. No manager. Nobody looking over your shoulder. You make the music, you pitch it, you handle the business side, and then you decide by yourself whether any of it is working. All in one room.
The problem is nobody catches your blind spot. If your mixes are the thing holding you back, or your pitching is, you can go years without a single person telling you. There is nobody there to say it.
You also end up solving problems that were already solved. Somebody sitting exactly where you are five years ago hit the same wall and got past it. Working alone, you have to invent that answer from scratch.
And the sneaky one is that you cannot tell if you are normal. Is this much silence typical. Is that fee low. Is everybody else grinding this hard. With nothing to compare against, you assume it is just you.
What fixes it is not fans and it is not family. It is people doing the same work. People who know what a cue sheet is and know exactly what a dry six months feels like.
One weekend around the right people can replace a year of guessing in a bedroom.
Two days. One online, one in Atlanta.
Comment SHADES and I will send you the ticket link.
31 Oct 2026
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