Hey everyone — my brother and I, Mathew Steele of SteeleSync and the Sync Radar, are back with another listening session this week! I recently posted looking for sports-focused tracks for a fast-growing sync library, and I decided to bring in Tom Burke from Lobstah Claw Music to help review submissions live. If you’d like your music considered, please send submissions to [email protected] (Disco links are highly preferred.) Join Link Below: Zoom Meeting: https://us06web.zoom.us/j/88647295522?pwd=yK2szwTa300tAoprSMmB0CVM9LgzrL.1⁠� Meeting Chat Link: https://us06web.zoom.us/launch/jc/88647295522⁠� Meeting ID: 886 4729 5522 Passcode: 201842

Hey everyone — my brother and I, Mathew Steele of SteeleSync and the Sync Radar, are back with another listening session this week! I recently posted looking for sports-focused tracks for a fast-growing sync library, and I decided to bring in Tom Burke from Lobstah Claw Music to help review submissions live. If you’d like your music considered, please send submissions to [email protected] (Disco links are highly preferred.) Join Link Below: Zoom Meeting: https://us06web.zoom.us/j/88647295522?pwd=yK2szwTa300tAoprSMmB0CVM9LgzrL.1⁠� Meeting Chat Link: https://us06web.zoom.us/launch/jc/88647295522⁠� Meeting ID: 886 4729 5522 Passcode: 201842

There’s a show I composed music for—my tracks were used throughout the entire season. At some point, I realized no cue sheets had been filed… which meant no backend royalties were being paid. With the level of usage, we’re talking hundreds, if not thousands, left on the table. And the wild part? This happens way more often than people think. I followed up with ASCAP and was told I had to wait 6 months after the final air date before they could investigate. I waited. Still nothing. Then I was told ASCAP had been trying to reach the network (a major one) with no response. Even after I provided airtimes, air checks, and detailed proof of usage—what was used, when, and for how long—they still couldn’t process anything without official cue sheets submitted by the network. I eventually tracked down the music supervisor, who sent me cue sheets for the full season… but they were labeled as drafts—what had been sent to the network for approval. Since they weren’t final, ASCAP couldn’t accept them. So now the responsibility somehow fell on me to get final cue sheets from a network I had zero contact with—not just for my music, but for every composer involved in the show. After months of back channeling, I finally got the finalized cue sheets and submitted them—over a year after the show aired. Only now can the process even begin for writers to receive their royalties… and it’ll still take months from here. It’s honestly crazy how difficult it can be for creatives to get paid what they’re owed. Stay on top of your cue sheets. Always.

A friend of mine who runs a growing sports library is seeking new one stopped sports options for his catalog. I am putting together some options for him through this community. Send up to 5 tracks, DISCO links to [email protected]

I have a contact on the search for cinematic instrumental cuts to pitch for upcoming Spiderman Film. Deadline 04-13-20206 Submit disco links to: [email protected] No unauthorized samples No AI-generated music --- Representation & Terms: All music pitched through Hit Record Academy will be represented by Joseph Lopez / Mr. Hit Record Productions as the sync agent. Representation is non-exclusive Joseph/Mr. Hit Record takes 30% NET of any sync fee secured No ownership, no publishing share, and no back-end will be taken from any songwritTechnical Requirements: All submissions must include: High-quality Master WAV + MP3 Instrumental version A cappella version Confirmed writer/producer splits One-stop clearance (all collaborators must approve) No unauthorized samples No AI-generated music