Find the cue, hear it, clear it.
One-stop catalog — master and publishing in one signature. Filter the way you brief.
How to read this catalog
The columns are the things that decide whether a cue works in an edit, measured from the audio rather than described from memory. 10 cues listed, all instrumental, spanning 123–136 BPM, and 9 measured at 90 or better for sitting under dialogue.
- Energy
- The shape of the track second by second. A cue that builds has somewhere to go under an escalating scene; a flat one is easier to cut to length.
- BPM and key
- Real measured tempo, not a rounded guess, so you can match a cut rate or sit two cues together without a clash.
- Ending
- Cold, button or fade. A button or cold ending lets you cut straight out; a fade needs room at the tail.
- Dialogue
- 0–100 for how clear the 1–3kHz speech band is. High scores sit under a voice without being ducked into nothing.
Nearly right? I'll cut it.
If a cue fits but the length or the arrangement doesn't, that is a request, not a dead end. Stems and time edits come back usually within the hour — a :30, a :15, an alternate out-point, a version with the drums pulled, or a bed with the lead removed so it sits further under a voice.
Because one person owns and made all of it, an edit needs no permission from anyone else. That is the practical half of one-stop that rarely gets mentioned.
Before you send a brief
What does one-stop clearance mean?
The recording and the composition are owned by the same person, so one agreement clears both. You negotiate once, sign once, and there is no second rights-holder who can hold the cue up.
Can I get stems or a cut-down to length?
Yes. Stems and time edits are available on request, usually back within the hour. Tell me the length you need — :60, :30, :15, or a specific out-point — and I will cut it against picture rather than fading it arbitrarily.
What does “dialogue-safe” mean on a track?
Speech occupies roughly 1–3kHz. Every cue is measured for how much of its own energy sits in that band and scored from 0 to 100. A high score means it stays out of the way of a voice, so you are not ducking it into uselessness.
What do “cold”, “button” and “fade” mean in the ending column?
Cold is a hard stop, button is a decisive final hit, and fade tails off. It matters for editing: a button or a cold ending lets you cut straight out of the cue, while a fade wants a little room at the tail.
How fast is a quote?
Most quotes go out within one business day. Send the media, territory, term and rough budget and you will get a clear number rather than a rate card.
What files do I receive?
Broadcast-quality WAV, plus MP3 or AIFF if you want them, delivered through Disco. You also get a cue sheet naming one writer and one publisher, which is what a broadcaster needs.
Is any of this AI-generated?
No. Every cue was written, performed, recorded, mixed and mastered by Joseph Abrams, who records as Joseph Thomas. It is registered with ASCAP under his own name and published by his own company.
Can I license for worldwide, all-media use?
Yes. Licenses are scoped by media, territory and term to fit the project, from a single-country in-context use up to worldwide all-media in perpetuity.
Working out what you need to license?
The licensing guides cover rates, rights, territory and term in plain language — including what a sync licence actually grants and what a cue sheet needs to say.
Read the licensing guides