April Fool's Day is fast approaching and with it comes the existential dread of - wait a minute, have I already done this? Is this what happens when you hit 50 consecutive monthly newsletters?! Am I just going to start recycling bits without even realizing it? Have I already done that?! 


I started this newsletter after 4 months at SAS, I was probably trying to sound very professional back then. "In this newsletter, we'll share trends we’ve..." bla bla bla what a DORK! With 49 in the rearview I'm free to truly be myself. Unfiltered. Unapologetic. Umm.. Unfettered? So get ready 'cause .. uh... well, look, at the moment I don't have anything in particular I want to say but believe me, when I do, I'm really gonna say it! 50 Newsletters! Who can stop me?!


Meanwhile, we'll do some News, Recent Work, Trends/References and Q an A or two. Just to get things flowing a bit before I really get real. 





As I mentioned last month, the SAS music-supervised feature I Love My Dad premiered at SXSW starring Patton Oswalt and writer/director James Morisini. This month I'm excited to report that the film won two awards at the festival: the Jury and the Audience Awards in the Narrative Feature Competition!


We're so thrilled for everyone who worked so hard to put it together, but especially SAS's own Jake Weinreb, Marchese Taylor and Mindy Dinh as well as SAS composer Jeremy Bullock for providing the score!



Recent Work

The enigmatic Captain Plantain is at it again with this quirky, dramatic cue in the trailer for Judd Apatow's latest comedy, The Bubble.


One of our favorite types of placements are collaborations between two SAS artists and this spot for HBO Max is a great example of that. The hybrid orchestral and electronic track was written by the aptly named Cybernetic Symphony, a transatlantic partnership between Joni Fuller and Matt Beilis. 






Max Richter - Spring 1 (Vivaldi's

Max Richter - Spring 1 (Vivaldi's "The Four Seasons" Recomposed) - We've featured both Max and Antonio before but never together and never this season! Layers of lively, delicate strings seem to prance or dance around each other in a sort of loose round structure in this somewhat moodier interpretation of the classic piece. 



Submit ideas inspired by this ref HERE with playlist name "#50 Valdi"

SYML - Where's My Love

Cigarette After Sex - Keep On Loving You - Another moody cover but this one is so much moodier I kind of want to take back "moodier" from the last one. We got this one for a Gap commercial and the spot was a lot of slow motion shots of cool teens hanging out and that's the best description of the vibe I can come up with.  



Submit ideas inspired by this ref HERE with playlist name "#50 Moodier"

Daniel Pemberton - The Skylab Plan

Daniel Pemberton - The Skylab Plan - This light, electronic cue features rhythmic, percolating, analog synths that layer and build to an uplifting climax. It's got a steady pulse that helps to root the more syncopated elements, provides some forward push, and gives it a somewhat mechanical sound as everything syncs up tightly together. 



Submit ideas inspired by this ref HERE with playlist name "#50 Digital Clock"

Bobby Hebb - Sunny

Bobby Hebb - Sunny - This soulful jazz track is one of the most performed and recorded songs in history and landed Hebb a tour with The Beatles. Each element of the recording is so expertly executed, tastefully written and sensitively performed that together the song manages to perfectly capture the joyful, uplifting feeling the lyrics speak to while layering it with the subtlest hint of nostalgic longing.


Submit ideas inspired by this ref HERE with playlist name "#50 Shiny"





Can you outline the various stages and degrees of exclusivity/acquisition both with Score a Score and your clients?


Exclusivity is probably the thing we're asked about the most and for good reason! Understanding the way these terms place limitations on the way your music can be used is absolutely vital as you navigate the licensing world, and it can be a bit confusing. Let me try to break down a few of the terms you're likely to see within our briefs and agreements.


Non-exclusive: If your track is licensed non-exclusively, it can still be licensed by other entities - even to a brand's direct competitors. One thing to keep in mind is that if you see "Non-exclusive" in one of our briefs, that specifically refers to how the track can be licensed not how the track can be represented for licensing. So submitting to that brief would still be subject to SAS's exclusivity clause in the agreement and couldn't be sent to other music houses or publishers for representation. 


Category Exclusivity: You'll usually see this listed with a particular category of brand such as "Quick Service Restaurants," or "Pharmaceuticals." This prevents the track from being licensed to a client's competition within a particular industry but allows it to be licensed outside of that industry. So if Taco Bell licenses a track with category exclusivity in quick service restaurants we could turn around the next day and license it to Linkedin but not to McDonalds. It's worth paying attention to which category is listed because it can be very broad (e.g. "Technology") or more narrow (e.g. "B2B Enterprise Technology") which makes a big difference in how the music can be used in the future - the narrower the better!


Full Exclusivity: This prevents the track from being licensed to anyone or anything for the duration of the term. The track is marked on our end and ceases to be pitched for any other opportunities until that term expires. This is generally the most expensive option as it obviously limits the future earning potential of a track significantly. 


Work-for-hire or Buyout:  All of the previous options were still within the realm of licensing but a work-for-hire or a buyout is a different type of agreement whereby a client acquires both the master and publishing copyrights and owns the track in perpetuity. This means not only can nobody else use the track, but the new owners can do anything they want with it. They can remix it, re-record it, use it on multiples spots in multiple campaigns, even license it or sell it! In almost all cases, if you wrote the track you would retain the writer's share of performance royalties, but beyond that the song is not yours (or ours) any longer, it is removed from our catalog and neither you nor we can generate any further revenue from it. 


SAS Exclusivity and Acquisition: As I mentioned, the previous terms were all strictly related to our clients, not to the agreement between you and SAS. In all cases, any tracks submitted to any of our briefs are added to the SAS catalog and must be exclusively represented by SAS. Furthermore, while SAS does acquire the master and publishing copyrights to a track once it has reached the revenue threshold outlined in your contract, this acquisition is distinct from a client's buyout or work-for-hire as it is still subject to the terms of our agreement and you would continue to receive your share of all future licensing fees (as well as writer's share of performance royalties). 



Alright strap in, here's me, unfiltered, courageous, my soul laid bare before the world. This is the type of confidence and bravery that only comes from writing 50 consecutive monthly newsletters. IN A ROW. Only missing that one when I was having a kid and Max and Marisa did it that time. But here it comes! Me being me! Not for the faint of heart! 


I don't completely understand the hype about Elden Ring I mean I'll finish it but it's not exactly changing my life or anything.


Happy Scoring Everybody!



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