We can act quickly. We get stuff done.

And after decades of experience, We’ve Only Just Begun.

We’re passionate about our artists and composers, about their music and about delivering it to our international network of content creators.



Adam has spent the last few decades nurturing artists, capturing performances and creating great music.

He started his illustrious music career in 1978 at the legendary Trident Studios in Soho, London (home to The Beatles, Bowie, Queen, Elton John, Peter Gabriel, Lou Reed, T Rex and many more). Although his glorious first position was as a chef and construction worker, he quickly moved up to engineer, mixer and record producer, learning from legendary engineers and producers. Adam worked on albums with many artists, including Rush, KISS, Tina Turner, The Buggles, Rod Stewart, Nico, Mick Ronson and many Punk bands, including Jimmy Pursey/Sham 69, The Cockney Rejects, The Angelic Upstarts, Bow Wow Wow, Chiefs of Relief and later, The Sex Pistols… and many Disco artists.

After a short stint in New York in the early ‘80’s, Adam returned to London to re-establish Trident Studios in the mid 80’s. During these years, he had success with The Cure, Roxette, Richard Marx, The Blow Monkeys, Maxi Priest, Visage, Galliano, WetWetWet, Bill Bruford’s Earthworks, Richard Jobson/The Armoury Show and Baaba Maal. After a decade of travelling between London and Los Angeles, Adam settled in LA in 1996. He later set up home at The Boat Studios in Silverlake, where he worked on many music and film projects including Beck/Jack White, Nikka Costa/Lenny Kravitz/Prince, Wolfmother, AJ Croce and Lucybell (Chile) and U2. Other studio clients included Ben Harper, The Yeah Yeah Yeahs, Avril Lavigne, Warpaint, Tenacious D and Cat Power. Adam has recorded and/or mixed several albums and movie scores with John Cale (Velvet Underground). Other film scores and tv projects include work with  Nathan Barr (“The Son”, “The Big Wedding”, “The Americans”, “True Blood”), Spike Jonze/Nick Zinner (“I’m Here”), Matthias Weber (“The Dark Valley”), and many projects with Lisbeth Scott.

Adam was the Associate Producer, Music Supervisor and Consultant, Sound and Music Mixer for “The Terry Kath Experience”, a music documentary about the guitar legend. Adam is part of the Music Faculty at The Herb Alpert School of Music, UCLA in the Music Industry Undergraduate Program, and an Instructor in the UCLA Extension Independent Music Production Program. He also teaches a Masterclass at Berklee School of Music in Valencia, Spain.

And now, he brings years of experience to continue to develop and nurture composers, artists and songwriters and help create fantastic music in all genres, especially indie alt-rock and acoustic, electronic and dance, pop rock and rnb pop.

Adam is known for his skills in song arrangement and instrumentation, and his ability to nurture, direct and achieve exceptional performances from the artists with whom he works. Adam incorporates his vast range of experience from tracking with classic Trident, Neve and API consoles to utilizing the latest ProTools HD and Ableton Live technology and various recording/mixing systems. With such a vast wealth of experience to draw from, Adam is able to adapt and apply the appropriate knowledge, techniques and colours to very diverse records, styles and artists… and pursue his concept of 3D dimensional sound in music production, arrangement and mixing.

“Concept, visualisation and arrangement is everything”

“The arrangement of the musical notes into parts…and then the arrangement of those parts within the “Sonic Field”…. the space between, above, below, behind and in front of the speakers. It’s like painting on an empty 3D canvas. Everything is possible. So you much choose the colours and use of dimension carefully.

Be clear about what you want to achieve from the very beginning.

When starting to work with an artist, with a song or on a movie, I must have a very clear concept of the dimension of the sound… the depth, width and spacial 3D aspect of how I see the song, the mix, and how I want to present the performance and capture the character in the sound.

With an artist, though the process of pre-production and rehearsal, I am able to explore and find the very best options to achieve the emotional purpose of the song and performance. Of course, I must understand exactly what the artist envisages, help them achieve that vision… or guide them to it.

With a feature movie or documentary, I must become completely familiar with the purpose, dimension and emotional goals of the film… and then look to expand upon and respond to those feelings and colours with sound.” 

Courtesy of Barefoot Sound/ Headroom for Days

IMDB: http://www.imdb.com/name/nm4892510/

Website: http://www.adammoseley.net/



Allison Wright Clark is a music supervisor, score and soundtrack producer, music licensing and publishing specialist.

Notable credits include “The Comeback Trail” , “The Good Wife”, “Pirates of the Caribbean”, “Call of Duty: Modern Warfare, “The Middleman”, “Ultraviolet”, “Watching The Detectives”, “Teenage Mutant Ninja Turtles”, “Frogger”, “Metal Gear”, “Castlevania”, “The Andromeda Strain”, “Def Jam: Icon”, “Malibu Road” and many others.

Other award-winning clients and projects that Allison has collaborated with are Jonas Group, Hans Zimmer’s Remote Control Productions, Ridley Scott and Associates, Dreamworks, Paramount Studios, Warner Brothers, Sony Pictures, Universal Studios, Konami, Nike, Coca-Cola, General Motors, Mercedes, BMW, UGGS, Miller, Land Rover, VW, United Airlines, Coors, Tag Heuer as well as many others.

Allison’s been a featured panelist, speaker, and moderator for the Billboard Latin Music Conference, ASCAP’s “I Create Music” Expo, CMJ Music Marathon, SXSW, The Hollywood Reporter/Billboard Film & TV Music Conference, Bradley University, Musician’s Institute, Boston University, Biola University, CRAS, CA State Northridge and Pomona, and Colombia College. Allison also taught the Music Supervision for Film and TV class at UCLA Extension in Westwood, CA.

She and her husband reside in Los Angeles with their Belgian Shepherd, Gretel.



Hailing from the Great White North (St. Paul, MN), Emily decided to take her B.A. in Music Business from Bradley University, encyclopedic Broadway knowledge, general music nerdiness, and everything she owned out to Los Angeles in 2018.

She had dreams of becoming a Music Supervisor, and was aided in her quest by her mentor and friend Allison Wright Clark. Situating herself quickly in the middle of the chaos that is the music industry, Emily spent her first year in LA learning as much as she possibly could about synch licensing and supervision. She was able to take her skills for connecting people and ideas, making rad playlists, and eagerness to help others and turn it into a fully-fledged career in synch licensing.

Emily has spent her career thus far pitching and mentoring incredible artists, building amazing catalogs, and helping her friends and colleagues with projects that make the world a more fun place to live in. When she’s off duty, Emily loves to watch as many TV shows and movies as she can handle, consume copious amounts of coffee, listen to beautiful music, and pet as many dogs as possible.


Licensing Assistant

Growing up with musician parents and grandparents, Melissa has had the dream of working in the music industry for as long as she can remember.

She moved to Los Angeles for her education from Bodrum, Turkey at 18 and is now in her second year of college studying Sociology. Being a big advocate for human rights, she volunteers at her local Housing and Homelessness Committee, helping to fight for unhoused people’s rights. In her free time, she likes to take pictures of her dog, watch movies, and listen to good music.

We’re happy to have her!


Studio Assistant

After getting a degree in classical piano performance, Daniel decided to pursue a career in the music industry. He had been writing, playing, and recording music friends for several years when he noticed his deep interest for music production.

In 2019,  he moved to Gilbert, Arizona to attend the Conservatory of Recording Arts and Sciences. There, he realized how exciting and alive the music industry really is. He then moved to Los Angeles, California to get an internship at Accidental Entertainment, which would eventually lead to a job.

On his spare time, you can find him producing his own projects or playing at a local church. Daniel is absolutely thrilled to be a part of the Accidental Entertainment team and and to be learning about the industry everyday.



Léa Savary was born and raised in Massy, France, and moved to the United States in 2005. Growing up with a musically inclined mother, she was exposed to legendary artists at a young age and learned how to play the piano, accordion, and button accordion. Léa just recently graduated from the University of California, Los Angeles with a Bachelor of Arts in Communication Studies.

She was also enrolled in multiple music industry courses and was taught the Art of Music Production by Accidental Entertainment’s very own, Adam Moseley. Adam brought her on to the team as an intern and she is very excited to support the team and learn more about Synch Licensing and Music Supervision. Léa is very interested in working in the music industry, either in A&R, Music Supervision, Artist Management, and Concert and Event Planning, however she hopes to eventually become a big music executive. Her goal is to one day create her own music label and sign artists from around the world.

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