You waste money on sync 101 “knowledge” that you can find for free on google.
You get basic industry terms and a master list of places to pitch your music to, but your next step still isn’t clear.
Which means you’re no closer to real sync opportunities.
That pisses me off and I created a way to change that.
We help you find the unique lane you can occupy in sync. You choose the brief that aligns with what clients are asking for right now. We use the Sync Beast 2:2:2 strategy to make sure you’re on target before you write a single note.
You begin sketching ideas based on your 2:2:2. You create as many short, raw ideas as it takes to find the gems. You work with Graham to narrow down your most promising sketches that become the core of your SBA project.
You work 1:1 with Graham to create full-length tracks from your best sketches. You receive personalized feedback videos and clear guidance to fill your tracks with as much value for clients as possible. Each revision is made out in the open and nothing slips through the cracks.
You create cutdowns and assets that are dead simple for high-paying clients to license. It’s not enough to take your full-length tracks to market. We guide you in delivering assets that maximize your listens, downloads, pitches, and sync opportunities.
Clients want to license real music, so it needs to look as authentic as it sounds. You create a high-dollar brand for your SBA project, including a moniker, artist picture, album art, and bio. We land your SBA project in Marmoset where it gets pitched to big brands.
I didn’t know that sync could change my entire f*cking life until the day I cashed my first sync check.
I felt the power and didn’t want it to end at the bank.
Getting more placements was the only thing I could think about, but had no idea where to start.
I studied thousands of ads and the music in them.
I listened to countless tracks in my library’s catalog.
I spent years with a mentor who guided me in making custom music for brands as the staff composer at Marmoset Music.
And it wasn’t until I applied it all to my sync tracks that it became clear:
So I designed my own sync strategy to speed up the time it took for my tracks to earn for me.
Repeatable moves + faster syncs = stable income.
Nothing made me happier than turning my sync production process into a game…
Except for the money, of course.
1500+ licensable assets, $2 million in sync revenue, and 8 long years of grinding showed me what’s possible with the right strategy.
And that’s what I offer you today:
The clearest path to actually make serious money with your music without the wait.
Yes, even if you don’t have a big catalog.
Yes, even if you don’t have years in the game.
And yes, even if your sync checks are hella small right now.
You deserve to finally see a return. I’ll get you there.
Hulu 8 days after going live
GM 12 days after going live
Oreo 10 days after going live
T-Mobile 5 days after going live
Xbox 1 day after going live
CBS 4 days after going live
Universal 7 days after going live
Apple 3 days after going live
Adobe 5 days after going live
Meta 10 days after going live
Pepsi 2 days after going live
Google 6 days after going live
Before I joined the SBA, I felt like I was running into walls and was really burnt out. I kept getting told my music was good, but not sync’able. I also felt like my collaborators weren’t the people I wanted to work with, but instead were just “available”. Now, I feel like I'm making great music with a purpose and collab’ing with amazing people that are on the same path. I'm focused on creating high-value tracks, rather than chasing the sync placement. I'm greatly appreciative of Graham’s mentorship, which gives me loads of confidence when creating and networking.
I’ve taken other courses / classes and they are all great, but this one is NEXT LEVEL! Things were a bit confusing for me, especially since there’s a lot of information about sync online. But after joining SBA, everything clicked. I don’t feel like I’m in this alone. The community is very friendly, supportive, and it’s crucial to be around like-minded individuals. I have a clear understanding on how I’m going to tackle my music career in sync and handle my business the correct way using modern tools with a brand new mindset.
I felt overwhelmed, exhausted, and alone. I was getting syncs and custom jobs, but I always felt like I started blind. Without a real strategy, it took so long to figure things out. Plus, I ran after every shiny job that wasn’t best-suited for my skillset. Since joining the SBA, I’m armored with a much better strategy. And most importantly, I feel less lonely with the community and calls. They give me so much energy and clarity by hearing that others are going through the same things I am. And the fact that I now know how to properly attack a brief without feeling overwhelmed and confused is worth so, so much. It's taken away a big stress in that sense for me. Plus, Graham’s awesome feedback and pep talks are a lifesaver.
Getting to join the SBA is like seeing behind the curtain. Or at the end of the Matrix where Neo sees the code of the world around him. There are all these guys selling courses and memberships about sync and library music, and it’s all the same stuff: Write an album of whatever cues. Cold email a bunch of libraries. Repeat. Maybe pay a month of rent 4 years from now, while all those guys market six-figure checks and achievements. They build courses based on past (maybe even ancient) successes. Graham teaches producers and composers how to be successful in sync in the highest leverage way: Writing fewer, higher quality tracks that sync more and pay bigger. Graham practices what he preaches and has successful students that kill it every day, sharing their wins and exactly how they do it in the group. I had an idea of how to succeed in sync, but nothing concrete. And now I have a definite step-by-step game plan to massively succeed in sync over the next five years.
Before I joined SBA, I had some success in sync, but wanted to take it to the next level. I wanted a sustainable strategy for sync. I lacked a plan for consistency and didn’t have a sure target of where I wanted my music to hit and be the most profitable. Now, I have the roadmap to the destination I was searching for. I feel more confident about the music I make. I truly believe what we’re doing in the SBA will make me a more profitable producer. Having like-minded creatives to learn with / from is amazing. I learn better in community-centric environments like this, more so than just a “course”.
Before I joined, I felt lonely, like I didn’t have a go-to person that I felt comfortable asking for help and guidance. Now that I’ve been in for a few months, I feel grateful to have a cool community to grow with, I feel less alone. And I feel fully equipped to handle any curveball because I can count on Graham’s seasoned support and feedback to offer guidance or even bounce ideas off of. I can make bolder growth steps without feeling so scared because I know that I have a reliable, structured support system. The difference between “pre” SBA and “in” SBA feels monumental for me.
I’d absolutely recommend the SBA to anyone who’s dead serious about sync, and has some sync education under their belt. This is for advanced sync producers. This is not a Sync 101 course. Before I joined, things moved rather slowly – One placement to my name. I took two "Sync 101" courses (basic sync vocab terms, some feedback calls, no science, no psychology, etc). I was kind of wandering, picking up gems here and there from “sync-fluencers”, unsure how to consistently approach my music in the sync industry and its actual needs. The SBA community is open and available to answer questions, give feedback, and collaborate. Now I have a better understanding of the sync game with a new mindset, creating music for sync. I’m learning that focus, strategizing, visualizing, and execution are some of my best friends in this industry.
I’ve had so many pieces of the puzzle fill in for me. The strategy and processes that Graham teaches are incredibly powerful when you put them to use! Before I joined I felt alone. I wasn’t around many other sync producers and was unclear of how to approach making music for sync – Shooting in the dark, so to speak. The SBA has given me a community of like-minded people, as well as a clear strategy on how to approach building projects for sync. Having been a touring musician and indie producer for hire, it’s been a long process of shifting my mindset from that of a worker, to owner and entrepreneur. Graham and the talented folks in the SBA have helped me to believe that I can build a catalog of assets that will keep paying me and working for me far into the future. Graham teaches us, not only the technical side of sync production, but the mindset and attitudes needed to succeed in this career. This program is worth 10x what I paid for it.