One Signature. Master and Publishing. Done.

It means one party controls both the sound recording (the master) and the underlying song (the publishing). You negotiate once, sign once and pay once. With most catalogs you would need to clear the master with a label and the publishing with one or more publishers, and any single writer can hold up the whole cue. That does not happen here.

The overwhelming majority of it, yes, and most A.D.A.M. Music Project recordings are 100% owned by the label and its writers. A small number of covers and collaborations have outside rights holders. We will always tell you which is which before you fall in love with a cue.

Quickly, because nobody else has to be consulted. Send the project details and we will come back with a quote and a confirmation of availability. If you are up against a delivery date, say so in the first email and we will work to it.

Yes, for most of the catalog. Instrumentals, TV mixes, and stems are available on request, which makes editing under dialogue and cutting to picture much easier.

It depends on the media, the term, the territory and how the music is used. A national television campaign and a festival documentary are not the same deal. We quote per project and we are used to working with independent budgets as well as studio ones.

Yes. The label was built around collaboration, with dozens of writers, singers and players in the room across our catalog. If you need a cue written to picture, a sound-alike-free alternative to a track you cannot afford, or a song built around a character or a brand, we do that work.

Yes. We supply the writer, publisher and share information you need for your cue sheet, and our works are registered so your performance royalties flow correctly.

Film, scripted and unscripted television, advertising, trailers, video games, esports broadcasts and live events, plus branded content and social campaigns. Our catalog leans rock, cinematic, pop and pop-culture-inspired anthems, with a deep gaming-inspired collection.