Interview with Dan Weniger

See below for the following interview with composer Dan Weniger.

– What was your purpose in creating the music for this album?

I wanted to create a soundtrack album for the listener, not music written to picture as usual. I find most soundtracks have great moments, then go off into something else, interrupting the mood because, well, they’re not written for the listener of course. ‘Tomorrow We Live Forever’ is a listening experience that keeps going right until the end.

I also feel that feature scores get boring because composers even big composers often don’t have the freedom to experiment, or they just get lazy. In a small way this album is an answer to that. I love writing sci-fi/action/horror, I truly love it. And when I hear something I could have done a better job at, I get inspired to push my own work.

The other reason for this album is to show my current and future clients what I can do. I hope to get more involved with gaming. I love the way people are pushing boundaries, it’s the wild west for experimentation. So we’ll see what the future holds.

– How challenging would you say it is to be able to come up with a fresh and exciting sounds in an increasingly saturated market?

I’m always hearing ways to improve my writing, trying to push myself to get that bigger, fatter, crazier sound. I also think it’s important to work with other people. Bouncing ideas off other great composers is a fantastic way to get inspiration for new ideas and it keeps me on my toes. Yes, the market is saturated, but with a lot of bad or so-so music. Most people are using the same sample libraries and if you don’t do something with those samples and create your own sounds then you end up sounding like everyone else. It’s also having the experience of knowing what sounds good. So I guess the answer for myself is to keep experimenting. Once I made a percussion sample library for myself, from big old machines in an abandoned warehouse. If I find something that makes a great/interesting sound, I record it.

– What was your favorite aspect for this particular album?
I like the mix of live strings and synths. There is so much potential there. It was a lot of fun experimenting and creating sounds for this album. For instance, there was a synth sound I created on a track that cross faded with the violins making the transition almost unnoticeable. I recorded the strings at Capitol Records and when I finally heard that blend with the live strings it was like magic. It’s that dance between live and synthetic that I find very interesting, introducing the two and making them fall in love or hate each other.

Weekend Revolution

What’s up epic music nation? Hope all is well. I just wanted to share some news with regards to a new EP that has been released by “Weekend Revolution.” The composers behind this work were Aram Mandossian and Alex Gabrielian. Mandossian has done some work for Future World Music as well as Ear Parade Music; Gabrielian for his part is from Pistols & Pints.

This album is the product of a two-year endeavor along with talented musicians Avena Savage, Kimera Morrell, and Sabine to co-write and perform.

These five tracks are still orchestral film music but added with pop lyrics to be used in film and trailers.

One of the songs “Save Me” was used in the trailer for the Jungle Book film.

– You can purchase the album here.

Happy listening!

Interview with Rogue Souls

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Here is an interview with Rogue Souls, a company that recently released their first album Toxic Rain. They were eager to answer a few questions and you can find their replies below.

What was your purpose in creating the music for this album?

The main idea was to create music that we’ll enjoy listening to, but also keep it very trailer friendly. So it’s basically the fusion of two different worlds that creates a whole new one for the listeners to explore with us.

How challenging would you say that it is to be able to come up with a fresh and exciting sounds in an increasingly saturated market?

It’s definitely a welcome challenge because there are some limits to the scope of things that can be done within the trailer market; but I think it’s about bringing enough of the familiar material that is usually expected, and then just adding something a little different to make it stand out; something that is unique to each of our individual characters… and that was key: we were able to blend our styles and musical and artistic influences together, staying true to ourselves and expressing all these elements freely without any limits, just composing music that we enjoy.

– What was your favorite aspect for this particular album?

Our favorite aspect was how this was a collaborative project and how natural we were able to express ourselves and blend our sounds together into one cohesive album. For this debut album, Toxic Rain, we each imagined different story elements by throwing in musical ideas that together form a whole narrative and give it that different sonic feel. This first release represents the beginning of our journey. The main concept of our albums will be very thematic oriented, so each will have a different feel and will sonically evolve as our journey continues.

News for SourceAudio

SOURCEAUDIO CLIENTS “DETECT” DRAMATIC ADVANTAGES IN

NEW WATERMARKING TECHNOLOGY

Los Angeles, CA, June 13, 2016 – Having launched just over three months ago, SourceAudio’s unique “Detect” product has begun revolutionizing the way music in audiovisual productions is being tracked and reported for rights owners and their collection agencies. The monitoring platform, developed by the Los Angeles based technology provider SourceAudio, uses Digimarc’s patented, state of the art watermarking technology to decode an indelible, inaudible code hidden within a music file.

Unlike preceding fingerprinting-based monitoring solutions, SourceAudio Detect eliminates false-positive detections, thereby ensuring 100% accuracy on detected usage.

In just a few months time, the new Detect solution has quickly been adopted, and is already widely in use by many of the country’s top production music companies, music publishers, and broadcasters in need of tracking the usage of their music assets. To date, nearly 200,000 Detects have been recorded on behalf of SourceAudio’s various clients, with precipitous increases in monthly activity as more and more watermarked assets are being downloaded from SourceAudio’s cloud-based delivery platform.

From heavyweight production music libraries like Megatrax Music and 5 Alarm Music, to boutique trailer music companies like Pitch Hammer Music, publishers and labels across the spectrum of the entertainment industry have instantly begun to enjoy the advantages of the new Detect system.

Regarding Detect, Ron Mendelsohn, President/CEO, Megatrax Music, said, “We recently started using SourceAudio Detect and look forward to continuing to use this new technology to help us better understand where and how our music is being used. The fact that the system provides the type and context of the usage is a great step forward over earlier technologies.”

Adds Cassie Lord, President of 5 Alarm Music, says, “With SourceAudio Detect, there are no ifs, ands, or buts about what’s detected. Unlike other solutions, if it’s reported to us by Detect, then we know it’s right! This is paramount when verifying license compliance and royalty payments.”

Brian Brasher, President & Co-Founder, Pitch Hammer Music, says, “The first quarter of 2016 is barely over, and by incorporating Detect into our pipeline, we’ve already been able to download and submit complete performance logs for several movie trailers and network promos using our music. SourceAudio Detect has simplified and virtually automated what heretofore had been a really complicated process in getting paid for the use of our tracks on these performances.”

“We couldn’t be more pleased with the interest and adoption by many top industry players of this game-changing solution,” said Hunter Williams, SourceAudio’s EVP, Intellectual Property and Business Development. “We developed Detect with all stakeholders in the music licensing supply chain in mind, including publishers, broadcasters and Performing Rights Organizations (PROs) like ASCAP, BMI and SESAC. That means our focus in the creation of Detect was always to ensure accurate and intuitive data that works within today’s performance reporting framework – instead of competing or conflicting with that pre-existing framework.”

ABOUT SOURCEAUDIO DETECT:

SourceAudio Detect currently monitors 80 of the most watched broadcast and cable networks on TV. The system automatically determines if music detected on these channels was heard as background music in a show, or if that music was used in a commercial, promo or movie trailer. The data is organized accordingly in an intuitive dashboard that allows users to easily export their performances in PRO approved report formats. For more information and pricing, visit www.sourceaudio.com/detect

ABOUT SOURCEAUDIO:

Based in Los Angeles, CA, SourceAudio is a white label, B2B music technology platform for publishers, labels, broadcasters, production companies and creative agencies. Iconic brands across the media landscape leverage SourceAudio’s industry leading music search, distribution, licensing, monitoring and management capabilities to generate revenue, enhance creative, and maximize efficiencies. SourceAudio’s network-based approach for buyer, publisher and sub- publisher connectivity in one cloud-based ecosystem is currently revolutionizing the music-for-commercial media supply chain.

For more information, please see: http://www.sourceaudio.com

SourceAudio Company Contact:
Hunter Williams

EVP/IP & Business Development

615.406.9290

Hunter@sourceaudio.com

Media Contact for SourceAudio:

Dan Harary

Asbury PR Agency

Beverly Hills, CA

310/859-1831

dan@asburypr.com

Kenny Mac – Rise and Fall

Meet composer Kenny Mac, who has released a mini-album Rise and Fall, which is actually the first of four in a series, known as “The Rebirth Series”. There’s five tracks total on the release, but three are over three minutes long, with the title track “Rise and Fall” being just over eight mintues in length. All of these tracks were written and composed by Kenny Mac.

rThe artwork is illustrative of a phoenix, a bird associated with the theme of rebirth and so on.

Rise and Fall starts with a certain emotional tone and then explores other facets of emotion throughout the rest of the track.  The female vocals also help to bring this out even more.

You can purchase the album on BandCamp and also follow Kenny Mac at http://www.kennymaconline.com

The Hit House releases two albums and an interview with

Los Angeles, CA, April 25, 2016 – Top custom music and sound design company The Hit House has released two brand new albums concurrently this week: “RE:ACTION RISE” and “RE:ACTION DRONES.” The albums, created and produced by composers Scott Lee Miller, Dan Diaz, William Hunt and Martyn Corbet, are the latest releases from The Hit House’s extremely successful RE:ACTION production library series.

Scott Lee Miller gladly answered a few questions regarding the new releases:

What was your favorite part of this new RISE and DRONES project?

Tackling RE:ACTION RISE and RE:ACTION DRONES was an interesting challenge, because we are all such melody driven composers. This release was much more focused on the build and the rise, so there were times I was definitely scratching my head! In the end, everyone had such a unique perspective on what makes a track rise and rise and rise to a climax, and now we have two amazingly well-rounded releases.
How do you come up with your ideas for entries within the RE:ACTION library series?

We do a lot of custom music so we get to see (and hear) what the trends are long before the trailers come out. This gives us really strong insight into where the industry is headed. We have a strong philosophy that we won’t take on a project unless we know we can do it well. For RE:ACTION RISE we had long discussions about about the concept, we composed some ideas, then listened to them together and discussed direction again. From the beginning they felt really interesting and new; we got very excited and started writing up a storm!

How long did it take you to create these two new albums?

We have been fortunate enough to be working on multiple custom projects, so these were written when we had free time. Like all music, some almost wrote themselves while some have their labor pains. As a team we share our works in all stages so we can hear what the other composers are doing. This allows us to rework tracks to make one holistic and well-thought out body of work. These compositions need to sit side by side and share a common design within a specific album release. We all feed off each other which makes it a nice creative process where we push ourselves to write better.

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“Rise” contains an extremely innovative and exciting collection of continuously building music cues that are perfect for film, video game, and commercial advertising. “Drones” features richly creative and expansive sound beds, each one available in all musical keys.

Pulling the listener close with hypnotic soundscapes in preparation for a launch into the stratosphere, the music from the new albums soars like never before with eponymously titled tracks such as: “Propellant,” “Hyperbolic,” “Thruster,” “Propulsion,” Countdown,” “Combustion,” “Launch” and “Ejection,” to name just a few jet-fueled action titles.

According to Sally House, Executive Producer and Co-Founder of The Hit House, numerous tracks from recent RE:ACTION albums have been successfully placed within high-profile action, comedy and animated movie trailers, as well as many commercials. These placements have included:

“The Jungle Book”

“The Finest Hours”

“Gods of Egypt”

“Patient Zero”

“Grimsby”

“The Peanuts Movie”

“Fantastic Four”

“The Road Chip”

Commercials:

Jaguar, Comcast and Lexus

About The Hit House:

A premier, multi-award winning, custom music and sound design company in Los Angeles, recent work from The Hit House has been used in national and global television campaigns for such major brand clients as Netflix, Google, Playstation, Lexus, Jaguar, Jell-O, Porsche, HBO, Honda, Toyota, and The Ritz Carlton, to name some.

In the area of motion picture marketing, music from The Hit House was most recently being featured within the campaign for the smash hit film “The Jungle Book,” and in upcoming campaigns for “The Angry Birds Movie,” “Ghostbusters,” “Ben-Hur” and “Suicide Squad.” The Hit House’s music has also been heard within trailers promoting the other feature films “Zootopia,” “Elvis & Nixon,” “The Boss,” “Triple 9,” “Burnt,” “Dirty Grandpa,” “Where to Invade Next,” “Kung Fu Panda 3,” “Jem and the Holograms,” “Pan,” “Creed,” “Alvin and the Chipmunks: The Road Chip,” “Minions,” “Million Dollar Arm,” “Anchorman 2,” “Spy,” “Ted 2,” “Pixels,” “Ricki and the Flash,” “Godzilla,” “Big Hero 6,” “Book of Life,” “Frozen,” “Thor: The Dark World” and “Iron Man 3,” among others.

SourceAudio News

0c8c128b-0f4f-4575-b7a4-9a8faa242e48Los Angeles, CA, March 3, 2016 – SourceAudio, a prominent B2B technology platform for music publishers, labels, broadcasters, production companies and creative marketing agencies, has named Douglas Reed as the company’s new Executive Vice President, Business Development, Radio and Library Services. Reed will be based in Philadelphia, PA. For the past 22 years, Reed had been a Vice President/Creative Director with Premiere Networks. The announcement was made by Daniel Korobkin, Co-Founder & President, Sales, SourceAudio.
At Premiere, in partnership with SourceAudio, Reed created the hugely successful Alpha Libraries for Radio service, which collects over 825,000 tracks from over 200 libraries, including production music beds, sound effects and imaging elements.  In addition to managing Alpha Libraries, Reed will continue to manage Premiere’s production websites as well as its venerable Essential Radio production library, as a smaller, “entry-level” subset of SourceAudio’s enormous Alpha Libraries collection.
Concurrent with his hiring, Reed now serves as the liaison between SourceAudio and Premiere Networks, as part of the newly expanded and growing relationship between the two companies.
Regarding today’s announcement, Andrew Harding, Co-Founder, SourceAudio, said, “We have worked very closely with Doug for years now, and he’s a perfect and natural fit for our team. The future of our radio business is in excellent hands with such an experienced industry veteran running point for us. His impact has been immediate, and we’re positioned for even more exciting growth in 2016.”
Adds Reed, “It’s great to officially join the team with whom I’ve shared a brain for so long.  SourceAudio’s amazing technology gives me a chance to do exciting things for two industries that I love – radio and production music. There’s incredible stuff coming down the road, and I’m excited to be a part of it.”


ABOUT DOUGLAS REED:

For the 22 years prior to joining SourceAudio, Reed had been Vice President/Creative Director of the BRG Music Works Division of Premiere Networks. While with Premiere, the industry vet developed dozens of music libraries and imaging products for the company, including Essential Radio, All Media Music, Extreme Cuts, Pyramid, Incredible Country, King Size Radio, Cookin’ Country, Club Q, Ultimate Urban and many others. Reed was also instrumental in helping Premiere’s production products move to web-based delivery. Premiere Networks, a subsidiary of iHeartMedia, syndicates 90 radio programs and services to more than 5,500 radio affiliations and reaches over 245 million listeners monthly.


ABOUT SOURCEAUDIO:

 

Based in Los Angeles, CA, SourceAudio is a cloud based sync licensing white label B2B technology platform for music publishers and administrators, labels, broadcasters, production companies, and creative agencies. The company’s clients utilize SourceAudio’s services to manage, search, distribute and monetize their audio assets.

 

Iconic brands across the media landscape leverage SourceAudio’s industry leading music search, distribution, licensing, monitoring, and management capabilities to generate revenue, enhance creative, and maximize efficiencies. SourceAudio’s network-based approach for buyer, publisher, and sub-publisher connectivity in one cloud based ecosystem is revolutionizing the music-for-commercial media supply chain.

 

SourceAudio’s clients include virtually every major media company and notable music production company in the United States. Music publishers, composers & administrators, indie labels, advertising and creative marketing agencies, broadcast networks, production companies, movie studios and radio broad-casters all use the services of SourceAudio.

SourceAudio is also a network and marketplace for music licensing buyers and sellers. With SourceAudio, clients get the best of both worlds: a powerful, premium music website plus the opportunity to be included in many exciting sales and distribution programs the company makes available to members on its network. Music sellers can reach new buyers and music buyers can have access to the best new music, features, and tools in the business.

For more information, please see: http://www.sourceaudio.com

 

The Hit House at SXSW Music

THE HIT HOUSE EXECUTIVE PRODUCER SALLY HOUSE TO BE

FEATURED PANELIST DURING SXSW MUSIC IN FILM TRACK SESSION

“COVERS & REMIXES & CUSTOMS: ALL YOU NEED TO KNOW”

IN AUSTIN, TEXAS, MARCH 17

ed56ccfd-1cf4-405f-886d-ac5970a31ecdLos Angeles, CA, March 2, 2016 – Sally House, Executive Producer and Owner of top original music production company The Hit House, will be a featured Panelist during a 2016 SXSW “Music in Film” track session. House will appear on the panel entitled “Covers & Remixes & Customs: All You Need to Know,” which will take place at the Austin, TX, Convention Center, on Thursday, March 17th.

Joining House on the session will be Angel Mendoza, Music Supervisor, The AV Squad; Anny Colvin, Head of Music Supervision, Vibe Creative; Bobby Gumm, VP/Music, Trailer Park; and Shauna Krikorian, Owner, MediaHorse. For more info about this session, please see: http://schedule.sxsw.com/2016/events/event_PP47218

The panel is described as follows: “It’s a brave new motion picture advertising world out there, with so many more ways to get music to work in this environment. This panel will have a vigorous discussion about the pros and cons of covers, remixes, custom tracks, and of course enhancements to existing tracks, giving insight into the time, effort and creativity that goes into creating outstanding music for movie trailers.”

ABOUT SALLY HOUSE & THE HIT HOUSE:

Sally House is Owner and Executive Producer of the multi-award winning, LA-based music production company The Hit House, renowned for bringing creativity to each and every project they touch through custom music and sound design. Recent work from The Hit House has been used in national and global television campaigns for major brand clients, blockbuster motion pictures, and hit videogames.

Among recent projects to which The Hit House contributed original music are campaigns for such top clients as Netflix, Google, Playstation, Lexus, Jell-O, Porsche, HBO, Honda, and The Ritz Carlton; motion picture campaigns for the recent films “Spotlight,” “Creed,” “Pan,” “Our Brand is Crisis,” and “Alvin and the Chipmunk Road Chip;” the upcoming film “Jungle Book 2016;” the recent films “Minions,” “Spy,” “Ted 2,” “Pixels,” “Ricki and the Flash,” “Godzilla,” “Big Hero 6,” “Book of Life,” “Frozen,” “Thor: The Dark World,” and “Iron Man 3,” among many others.

A native of South Africa, Sally House brings her vast marketing and branding experience to The Hit House. She started her career in advertising at Ogilvy & Mather, before transitioning to the client side as Director of Marketing for Kenwood USA and VP of Marketing for Clarion Corporation.

In her role as leader of The Hit House, Sally initiated the creation of the company’s highly successful FUNNY BONE, OFF THE RECORD, RE:ACTION, and SPHERES production music libraries. Tracks from these libraries have been used in a long list of movie trailers, television shows, and commercials.

During the past three years, Sally and The Hit House have been featured in numerous entertainment and music industry media outlets, including Variety, the Los Angeles Business Journal, The Agency Post, Adotas, SHOOT, Pro Sound News, POST Magazine, PostPerspective, MIX Magazine, Below the Line News, WDVentito, Markee Magazine, Creative Planet, Digital Pro Sound, Creative Cow, Trailer Music News, Music Supervision Central, and many others.

In addition, Sally is a noted panelist and guest speaker, and has appeared at such industry gatherings as NAMM, the Sync Summits in Los Angeles and London, the Production Music Conference, the Music Business Association’s Annual Conference, and others. Hear more at: www.thehithouse.com

And please visit the company’s social media sites:
https://www.facebook.com/thehithousemusic
https://twitter.com/HitHouseMusic
https://www.youtube.com/user/TheHitHouseMusic

Interview with composer Ryan Shore

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Meet a Grammy and Emmy award-nominatinated composer by the name of Ryan Shore, who’s done some recent music work RL Stine’s “Monsterville” and “Scooby Doo’s Wrestlemania Mystery,” both of which were released on DVD and soundtrack earlier this year, and Disney XD’s “Penn Zero: Part-Time Hero,” which is currently airing.

He was willing to go into a bit about his music background and a few other aspects. Read on to find out more!

What inspired you to begin composing?

I first took up music at age 11 by playing the saxophone. During the next 6 years, I loved exploring all the different musical styles the saxophone would normally play — such as jazz, latin, rock, pop, and a little bit of classical. After high school, I was accepted to the Berklee College of Music and needed to choose a major, so I chose film scoring based on inspiration from my uncle Howard’s composing. However, while I was at Berklee, I only composed a very small amount of music, as I was really focused on playing the instruments. I would say most people who knew me back at Berklee probably knew me as an instrumentalist, since I was playing in so many ensembles, recording sessions, and concerts. However, while I was doing all the playing, I was finding there were so many styles and sounds I wanted to explore, and many of those styles and sounds wouldn’t necessarily have a place in them for the saxophone. As a result, I felt I could more readily explore them by focusing on composing for them. So between the inspiration from Howard’s music, and my curiosity to explore new sounds and genres outside of the saxophone, they were my main inspirations to begin composing.
What was the most challenging aspect of creating scores for the various projects?

Because I began learning music on the saxophone, I was very used to often playing melody lines, and also, because the saxophone is not multi-phonic instrument (meaning it can only play one note at a time), I hadn’t yet delved into all the additional facets of music which are important for composition — such as arranging, layered writing, chord voicing, percussion, etc. So when I first began to compose music for projects, I think at first my biggest challenge compositionally was learning how to fully realize all the sounds and styles I had churning in my mind into actual performances and recordings. Once I had written a body of music in different styles, then those aspects became more second nature.

Then the other challenging aspect is being able to translate the filmmaker’s direction into music. Coincidentally, that’s also among the most enjoyable parts of the process, since I love collaborating and understanding all the nuances of the stories, and then translating them into music.
Did you begin with a general idea of how you wanted the music to flow for each project ?

Nearly every project begins with a discussion between the composer and the filmmakers. Often times, the filmmakers will have specific ideas for how they’d like the music to sound and the role they’d like the music to play within the project. Therefore, I always begin each project by talking with and listening to the filmmakers as much as possible. Once I’m clear on the intended music direction, then I usually begin by improvising music ideas based on my feelings for the story. Then once I find some ideas which seem to resonate, I delve further into those ideas and continue to hone them until I feel they’re ready for the filmmakers to hear. From there, once they have heard them, we’ll continue our discussion, and I continue to write more and hone the ideas even further until we arrive at the final music.

SourceAudio creates new Industry Standard

SOURCEAUDIO ANNOUNCES LAUNCH OF “SOURCEAUDIO DETECT”:


UNIQUE SERVICE REPRESENTS NEW INDUSTRY STANDARD

FOR TRACKING MUSIC USAGE WITHIN AUDIO-VISUAL PRODUCTIONS

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Los Angeles, CA, Feb. 16, 2016 – SourceAudio, a prominent B2B technology platform for music publishers, labels, broadcasters, production companies and creative marketing agencies, has announced the launch of its newest service, “SourceAudio Detect.” The announcement was made by Geoffrey Grotz, SourceAudio’s Co-Founder/CEO.

 

SourceAudio Detect uses a unique, robust and inaudible digital identity (watermark) that is redundantly embedded directly into a piece of audio itself. It is different from other fingerprinting-based monitoring solutions in that there is never any guesswork or doubt about the track identity because a truly unique code is woven into the fabric of each file that travels with it indefinitely. That code will only reference the true identity given to the track by its owner or authorized licensor.

 

Regarding the launch of this new company service, Hunter Williams, Executive Vice President, IP and Business Development, SourceAudio, said, “Our Beta testing of SourceAudio Detect had been a huge success, and right at launch, we already have close to 3 million tracks watermarked via this new service.”

 

He adds, “In addition to its unprecedented accuracy and reliability, SourceAudio Detect is the first solution of its kind to be able to determine if music is part of a show or a commercial (eg. ad, promo, movie trailer) on TV.  We’ve also taken great pains to conform our detection reports to the reporting standards of the three U.S. performing rights organizations (ASCAP, BMI and SESAC,) to ensure that the data can be useful to their survey and distribution methods. Our mission remains to take the pain and uncertainty out of royalty accounting for all stakeholders in the licensing and distribution supply chain.”

 

Currently, SourceAudio Detect monitors 80 of the most-watched national broadcast and cable networks in the U.S., and is on target to hit 110 by early March. Monitoring in other local U.S., foreign, and other media markets is slated to start later this year. Visit http://www.sourceaudio.com/detect/ or contact a SourceAudio representative for more information.

 

ABOUT SOURCEAUDIO:

 

Based in Los Angeles, CA, SourceAudio is a cloud based sync licensing white label B2B technology platform for music publishers and administrators, labels, broadcasters, production companies, and creative agencies. The company’s clients utilize SourceAudio’s services to manage, search, distribute and monetize their audio assets.

 

Iconic brands across the media landscape leverage SourceAudio’s industry leading music search, distribution, licensing, monitoring, and management capabilities to generate revenue, enhance creative, and maximize efficiencies. SourceAudio’s network-based approach for buyer, publisher, and sub-publisher connectivity in one cloud based ecosystem is revolutionizing the music-for-commercial media supply chain.

 

SourceAudio’s clients include virtually every major media company and notable music production company in the United States. Music publishers, composers & administrators, indie labels, advertising and creative marketing agencies, broadcast networks, production companies, movie studios and radio broad-casters all use the services of SourceAudio.

SourceAudio is also a network and marketplace for music licensing buyers and sellers. With SourceAudio, clients get the best of both worlds: a powerful, premium music website plus the opportunity to be included in many exciting sales and distribution programs the company makes available to members on its network. Music sellers can reach new buyers and music buyers can have access to the best new music, features, and tools in the business.

For more information, please see: http://www.sourceaudio.com

 

SourceAudio Company Contact:
Hunter Williams

EVP/IP & Business Development

615.406.9290

Hunter@sourceaudio.com

 

 

Media Contact for SourceAudio:

Dan Harary

Asbury PR Agency

Beverly Hills, CA

310/859-1831

dan@asburypr.com