We run two distinct practices under one operational standard — consulting for the leaders who own the music function, and supervision for the teams executing the work. They bill separately. They hold to the same standard.
We work with Business Affairs, Legal, and Operations leaders whose music departments have outgrown their internal systems — and with the music department heads who report up to them. The consulting practice is for organizations that take their music function seriously enough to engineer it, rather than letting it run on tribal knowledge and email chains.
Most of the operational problems we're asked to solve look different on the surface — slow clearances, a backlog of unfiled cue sheets, a PRO audit that turned into a fire drill, a music team that can't keep up with demand from programming or marketing — but they almost always share a root cause: the systems that the department runs on were never actually designed. They accreted, one exception at a time, over years.
Engagements are scoped against the specific problem. A clearance workflow redesign is different work than PRO relationship strategy, which is different work than reporting readiness, which is different work than designing the handoff between music, legal, and accounting. Some engagements are a defined project with a deliverable. Others are retainer relationships where we sit in the room as you work through a year of structural change.
Either way, the standard is the same — documentation that survives audit, handoffs that survive staff turnover, and systems that don't depend on any one person in the room.
Project-based music supervision for agencies, studios, and media companies that need clearances executed to broadcast standard. Sourcing, negotiation, licensing, cue sheets, accounting, and delivery — handled end-to-end, with the operational rigor the work demands.
The supervision practice leads in ads, trailers & promos, and sports & live broadcast — the environments where the margin for error is small, deadlines don't move, and the clearance has to hold up to scrutiny long after the spot airs. Film, TV, and streaming engagements are taken on selectively, where the operational shape of the project fits how we work.
We run supervision as a complete operational hand-off. You send the brief, the deadline, the budget shape, and the delivery spec. We come back with sourced options, negotiated quotes, cleared rights, filed cue sheets, invoiced vendors, and a closed paper trail — in the time the campaign actually needs, not the time clearance usually takes.
The two practices solve different problems and bill separately. Most engagements start with a short conversation to figure out which practice is the right entry point — and to tell you honestly if we're not the right fit at all.
A specialized practice. We focus on music operations — clearance workflows, licensing pipelines, reporting readiness — and we do it to broadcast standard across every engagement.