A good listening session tomorrow on level up productions with Brianna she’ll! https://www.skool.com/level-up-sync-up-7680/listening-session-saturday Hope to see you all there! Like 0 0

Just finished 'First Light' writing against a Taxi brief. It was supposed to be Chill Out. I studied the reference tracks, and respected them with this piece, but it still came out more smooth jazz / light funk. It was great fun to write. Fingers crossed that someone at Taxi will like it, and it still goes in the catalog! Now off to the next project! https://s.disco.ac/zvatqnqgqveq

If your follow-up email is just "hey, just checking in," you're not actually adding anything of value to the conversation. The person on the other end needs a reason to open your next email! Not just a reminder that you exist. New tracks. A new playlist. A new reason for them to care about what you can provide for them. In other words, pile on the value. Earn the response from them by adding VALUE. Next time you're about to hit send on a value-less "Follow Up," stop and ask: what am I actually giving them this time that I didn't give them last time? Reply below with what your next "value add" is going to be, even if it's still a few weeks out.

Comment with your number! I'll share what I've learned actually works in sync, and it's probably slower than most people guess.

We were on an Accelerator coaching call Monday and I was giving Kaleb feedback on two tracks he'd posted. Good tracks. Solid mixes, strong arrangements, real momentum. And somewhere in the conversation he said this: "I never once, while creating those beats, thought about an editor's point of view. Not once." I don't think Kaleb is unusual. I think most producers and composers in here would say the same thing if they're being honest. Beat-making culture doesn't teach you to think about picture. It teaches you to think about the drop, the energy, the loop. Whether it hits. But sync is a different job. The end user isn't a listener. They're an editor with a timeline, a deadline, and a scene that needs to feel a certain way in the next two hours. They're asking where they can cut it, not if your music cue "slaps." Once that clicked for Kaleb, everything changed about how he approaches arranging his music cues. So the question becomes...are you building tracks, or are you building usable tools for the storytellers we aim to work with? If you've made this switch already, what changed first for you? Drop it below. Kaleb's in the comments - he'll tell you what it felt like from his side.