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 MOSELEY

President/Partner

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.

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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/

TARIK BRADFORD

Senior Licensing Consultant

CELESTE PEÑA

ALICE TOWNSEND

EMMA KEHL