Producer.
Composer.
Founder.
Catalog Architect.

For more than three decades, I’ve built, structured, scaled, and exited music catalogs within the production music industry.

I began as a record producer, mixer, composer, and songwriter… but over time my work expanded beyond individual tracks and artists’ albums into label and catalog architecture, publishing strategy, and long-term asset development.

I created Gravity Production Music in 1997, partnered with a distributor in Los Angeles, and later sold the catalog to Warner Chappell.

I went on to conceive and produce the Velocity label for FirstCom Music in 2000, which was ultimately acquired by Zomba/BMG and now lives within the Universal Production Music ecosystem.

In 2007, I launched BurstLabs.com, which evolved through a deal with Extreme Music into the Mixtape Series within Sony/ATV’s publishing structure.

I reinvested proceeds from those transactions—along with my own composer royalties—to build The License Lab starting in 2010, a boutique publishing venture producing ten diverse but tightly curated labels now distributed globally through Universal Production Music.

Working across multiple cycles of creation, distribution, and successful exits has shaped how I see this business. I’ve experienced it from inside the studio as a composer and player, across the negotiating table with corporations and partners, and as a stakeholder in major global publishing ecosystems.

Over time, my focus expanded beyond composing and placements into the mechanics beneath the surface:

• How catalogs are structured for longevity

• Why some writers compound success while others stall in the starting gate

• How distribution relationships influence creative outcomes

• Where hype distorts long-term thinking

• What actually creates sustainable income over time

That perspective now informs everything I do… from ongoing production work to long-form entries in my Journal and a limited number of strategic sessions for composers and catalog builders seeking clarity beyond surface-level tactics.

Production & Recording Work

Alongside building and selling catalogs, I’ve continued working directly in the studio as a producer and mixer. My studio credits include work with wide range of artists (ones you’ve surely heard of and many you likely haven’t), with major label and independent releases across multiple genres.

You can explore some of my selected credits here.

Industry Involvement

I am a voting member of The Recording Academy (NARAS/Grammys), joining at the encouragement of my longtime mentor and industry titan Jim Long. Following in his charitable footsteps, I’m also a supporter of MusiCares and the The Michael J. Fox Foundation for Parkinson’s Research.

I’ve been a writer member of ASCAP since 1996—in fact, I still have my very first royalty check hanging in my office, uncashed—and maintain active publishing entities with ASCAP, BMI, and SESAC.

Over the years, I have served on committees for the Production Music Association (PMA), and I’ve been invited to contribute to conversations across the production music, broadcast, and creative communities—from music technology demos for Spectrasonics at NAMM (at the invitation of Eric Persing), to expert panel discussions at the NAB Show, panel discussions at the PMA’s Production Music Conference, interviews at Taxi’s Road Rally and presentations for the international group effort CreativeMornings.

These invitations reflect something I value deeply: serious and meaningful dialogue about craft, structure, technology, community, and long-term thinking in an industry that often moves quickly.

Today

I continue writing, producing, building, listening, mentoring, and studying the evolving mechanics of the production music and publishing ecosystems.

If long-game thinking resonates with you, you can explore more in the Journal or learn about working together under Advisory.