Score A score marked 15 years of music that was made to order

Fifteen years ago Jordan Passman had a simple idea: help musicians to make money. With the birth of a score, what started as a digital marketplace for indie composers developed into a full-service music agency with a customer list that contains Apple, AT & T, McDonald's, Pepsi, Activision and Netflix.

Score a Score has achieved a niche by designing and simplifying the process of providing original music for advertising, film trailers and branded campaigns. The services include customer -specific reviews, music supervision, Sonic Branding and curated playlists from a catalog of tracks that were created by the more than 400 composers of the company from all over the world.

Described by Passman – whose father Don wrote the industry Bible Everything you need to know about the music business (11 editions and counting) – As a “music department in a box”, a score has a unique strength to find the right sound quickly and seamlessly. “It's about customer service and the connection, as is the right composer,” he says. “We really thrive there.”

After a short period of time in the postal dream of a talent agency and five months at the Performance Rights Organization ASCAP, Passman left the musicians who have repeatedly called for help. “[The musician landscape] Was so overpopulated and so underrepresented, “notes Passman.” It was easy to build a squad. The difficult part was to find the opportunity to pay for it. “

The native of Los Angeles, the native of Los Angeles, introduced himself for the first time as a cleaner alternative to Craigslist, where filmmakers often published demands for composers. The turning point came when he stayed away from the promotion of the platform and sold his own ability to achieve talents with the opportunity. “As soon as I shifted to the online platform to sell online platform, business started to go,” he explains. “Every composer can submit work for our team to check on our website. However, we only work with artists if we really believe that we can be successful together.”

He began with cold-authorized advertising agencies, music leaders, trailer and production houses, editors and directors and reached many voicemails where he would leave his place. Passman finally found his groove with advertising. “It made a complete sense for what we offered: high volume, good price, quick turnarounds,” he says.

From there, a score developed into trailers (including the international place for Evil and the Clio recognized trailer for Sing singing) But remained stupid. When Tikok started his commercial music library in 2020, a quarter of the tracks (1,000 out of 4,000) came from the catalog of a score. At recent times, mood-based playlists have surpassed 2 billion streams for studying, meditation or sleeping.

In addition, a score places a score more on Sonic Branding, a regional passmann looks more important than ever. “Everyone has a visual logo,” he says. “Why don't you have an audio? In today's world with Siri and Alexa, who are so audio -oriented, the sound fire is something that we want to make affordable for everyone. Every company deserves that.”

Since AI changes the creative landscape, Passman cares exactly, although he does not hurt himself to replace human talent with technology. “If you are founders and CEO and not curious about AI, you won't be successful in this world,” says Passman.

Instead of developing generative tools, Passman focuses on how the technology can support composers and improve the workflow. “Someone will try to replace what we do with AI, but we are isolated from it,” he says. “Our customers really take care of what goes out in the content they create. I am optimistic that AI can be a tool for all of us.”

Passman admits that an explosion of the content has created a more fragmented landscape, whereby Studios train large betting back, which can mean fewer opportunities for music monitoring. But he is not discouraged. “There is an art of what we do,” he adds. “It's a raw, emotional thing.”

This story appeared in the Hollywood reporter Magazine edition. Click here to subscribe.