Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
23 — ELMER FERRER

OMR Cue Map

Track: 23
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The instrumental arrangement gives editors room under dialogue while still carrying clear emotional and rhythmic direction. Best used where 23 can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: Eb Minor
BPM: 113
Genres: FUNK / INDIE / JAZZ / ROCK
Vocals: Instrumental
Moods: BRIGHT / CAREFREE / DRAMATIC / FUN / HAPPY / PLAYFUL / RETRO / SWAGGER
Sync Themes: ACTION / ADVENTURE / ANIMATION / CRIME / SPORTS / THRILLER
Lyric Themes:
Type: One Stop

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR / KEYBOARD

Track Summary:
23 by ELMER FERRER combines funk, indie, jazz, rock influences, bass, drums, electric guitar, keyboard, and bright, carefree, dramatic, fun, happy, playful, retro, swagger pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: ACTION / ADVENTURE / ANIMATION / CRIME / SPORTS / THRILLER
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

23 by ELMER FERRER combines funk, indie, jazz, rock influences, bass, drums, electric guitar, keyboard, and bright, carefree, dramatic, fun, happy, playful, retro, swagger pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Instrumental Usage

Fully instrumental and one-stop, “23” supports cinematic storytelling without lyrical distraction. Especially useful for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Artist Bio

ELMER FERRER creates sync-focused music shaped by funk, indie, jazz, rock influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
1849 — THE GREEN DOOR

OMR Cue Map

Track: 1849
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The instrumental arrangement gives editors room under dialogue while still carrying clear emotional and rhythmic direction. Best used where 1849 can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 69
Genres: INDIE / PUNK / ROCK
Vocals: Instrumental
Moods: MOODY / RETRO
Sync Themes: THRILLER / CRIME / DRAMA / INDIE
Lyric Themes:
Type: One Stop

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR

Track Summary:
1849 by THE GREEN DOOR combines indie, punk, rock influences, bass, drums, electric guitar, and moody, retro pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: THRILLER / CRIME / DRAMA / INDIE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

1849 by THE GREEN DOOR combines indie, punk, rock influences, bass, drums, electric guitar, and moody, retro pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Instrumental Usage

Fully instrumental and one-stop, “1849” supports cinematic storytelling without lyrical distraction. Especially useful for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Artist Bio

THE GREEN DOOR creates sync-focused music shaped by indie, punk, rock influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
28-7 — ELMER FERRER

OMR Cue Map

Track: 28-7
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The instrumental arrangement gives editors room under dialogue while still carrying clear emotional and rhythmic direction. Best used where 28-7 can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: C Major
BPM: 80
Genres: AMBIENT / ELECTRONIC
Vocals: Instrumental
Moods: ATMOSPHERIC / MINIMAL / REFLECTIVE
Sync Themes: DRAMA / INDIE / MYSTERY / SCI-FI
Lyric Themes:
Type: One Stop

Instrumentation:
KEYBOARD / PERCUSSION / PIANO / SYNTH

Track Summary:
28-7 by ELMER FERRER combines ambient, electronic influences, keyboard, percussion, piano, synth, and atmospheric, minimal, reflective pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: DRAMA / INDIE / MYSTERY / SCI-FI
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

28-7 by ELMER FERRER combines ambient, electronic influences, keyboard, percussion, piano, synth, and atmospheric, minimal, reflective pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Instrumental Usage

Fully instrumental and one-stop, “28-7” supports cinematic storytelling without lyrical distraction. Especially useful for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Artist Bio

ELMER FERRER creates sync-focused music shaped by ambient, electronic influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
OCTOBER 2020 — RAN DE CASA

OMR Cue Map

Track: OCTOBER 2020
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The vocal performance gives the scene a clear point of view while the arrangement provides usable editorial lift. Best used where OCTOBER 2020 can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: D Minor
BPM: 120
Genres: HIP HOP
Vocals: Male Vocal
Moods: CONFIDENT / MOODY / RHYTHMIC / SWAGGER
Sync Themes: DRAMA / INDIE / COMING OF AGE
Lyric Themes: HOPE / POWER
Type: One Stop

Instrumentation:
BASS / PERCUSSION / SYNTH

Track Summary:
OCTOBER 2020 by RAN DE CASA combines hip hop influences, bass, percussion, synth, and confident, moody, rhythmic, swagger pacing into a vocal-driven storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: DRAMA / INDIE / COMING OF AGE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

OCTOBER 2020 by RAN DE CASA combines hip hop influences, bass, percussion, synth, and confident, moody, rhythmic, swagger pacing into a vocal-driven storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Lyrics

Lyrics contain explicit language. Full lyric sheet available on request for clearance review.

Artist Bio

RAN DE CASA creates sync-focused music shaped by hip hop influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
"12-06-19" — PAUL REDDICK

OMR Cue Map

Track: "12-06-19"
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The instrumental arrangement gives editors room under dialogue while still carrying clear emotional and rhythmic direction. Best used where "12-06-19" can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: F# Major
BPM: 88
Genres: BLUES / FOLK / VINTAGE
Vocals: Instrumental
Moods: HAPPY / POSITIVE
Sync Themes: ART HOUSE / DRAMA / INDIE / MYSTERY / ROMANCE
Lyric Themes:
Type: One Stop

Instrumentation:
HARMONICA / PERCUSSION

Track Summary:
"12-06-19" by PAUL REDDICK combines blues, folk, vintage influences, harmonica, percussion, and happy, positive pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: ART HOUSE / DRAMA / INDIE / MYSTERY / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

"12-06-19" by PAUL REDDICK combines blues, folk, vintage influences, harmonica, percussion, and happy, positive pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Instrumental Usage

Fully instrumental and one-stop, “"12-06-19"” supports cinematic storytelling without lyrical distraction. Especially useful for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Artist Bio

PAUL REDDICK creates sync-focused music shaped by blues, folk, vintage influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
1000 YEARS — PAUL REDDICK

OMR Cue Map

Track: 1000 YEARS
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The vocal performance gives the scene a clear point of view while the arrangement provides usable editorial lift. Best used where 1000 YEARS can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: C Major
BPM: 93
Genres: FOLK / INDIE
Vocals: Male Vocal
Moods: BRIGHT / SAD
Sync Themes: ART HOUSE / DRAMA / INDIE / MYSTERY / ROMANCE
Lyric Themes: CONNECTION / LOVE / RELATIONSHIP / TIME
Type: One Stop

Instrumentation:
PERCUSSION / PIANO / STRINGS

Track Summary:
1000 YEARS by PAUL REDDICK combines folk, indie influences, percussion, piano, strings, and bright, sad pacing into a vocal-driven storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: ART HOUSE / DRAMA / INDIE / MYSTERY / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

1000 YEARS by PAUL REDDICK combines folk, indie influences, percussion, piano, strings, and bright, sad pacing into a vocal-driven storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Lyrics

The wind and rain were on the trees
and on the Seventh Line
So close to me so close to me
with her tender hand in mine
A thousand years she said to me
Darling times all of time
She spoke to me so close to me
with her tender hand in mine
She asked me did I know the road
and know my second mind
Oh all my heart all my heart
with her tender hand in mine
A thousand years she said to me
Darling times all of time
She spoke to me so close to me
With her tender hand in mine
In silence and perfection
within this world divine
So true to me so true to me
with her tender hand in mine
A thousand years she said to me
Darling times all of time
She spoke to me so close to me
With her tender hand in mine
Nobody knows and nobody sees
the wind upon my mind
So far from me she's gone from me
her tender hand gone from mine
A thousand years she said to me
Darling times all of time
She spoke to me so close to me
With her tender hand in mine
She spoke to me so close to me
with her tender hand in mine

Artist Bio

PAUL REDDICK creates sync-focused music shaped by folk, indie influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
13 DIFFERENT WAYS OF LOOKING AT A CANARY CANARY — JOSH HOWARD FRIEDMAN

OMR Cue Map

Track: 13 DIFFERENT WAYS OF LOOKING AT A CANARY CANARY
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The instrumental arrangement gives editors room under dialogue while still carrying clear emotional and rhythmic direction. Best used where 13 DIFFERENT WAYS OF LOOKING AT A CANARY CANARY can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: G Minor
BPM: 74
Genres: CLASSICAL
Vocals: Instrumental
Moods: HOPEFUL / LIGHT / POSITIVE / REFLECTIVE / ROMANTIC
Sync Themes: ART HOUSE / DRAMA / MYSTERY
Lyric Themes:
Type: One Stop

Instrumentation:
ACOUSTIC GUITAR

Track Summary:
13 DIFFERENT WAYS OF LOOKING AT A CANARY CANARY by JOSH HOWARD FRIEDMAN combines classical influences, acoustic guitar, and hopeful, light, positive, reflective, romantic pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: ART HOUSE / DRAMA / MYSTERY
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

13 DIFFERENT WAYS OF LOOKING AT A CANARY CANARY by JOSH HOWARD FRIEDMAN combines classical influences, acoustic guitar, and hopeful, light, positive, reflective, romantic pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Instrumental Usage

Fully instrumental and one-stop, “13 DIFFERENT WAYS OF LOOKING AT A CANARY CANARY” supports cinematic storytelling without lyrical distraction. Especially useful for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Artist Bio

JOSH HOWARD FRIEDMAN creates sync-focused music shaped by classical influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
24 ON 7 — SYD AND I

OMR Cue Map

Track: 24 ON 7
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The vocal performance gives the scene a clear point of view while the arrangement provides usable editorial lift. Best used where 24 ON 7 can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: C# Major
BPM: 83
Genres: ELECTRONIC / INDIE / POP
Vocals: Female Vocal
Moods: ATMOSPHERIC / COOL / DREAMY / MINIMAL / MOODY / PERCUSSIVE / REFLECTIVE / RHYTHMIC
Sync Themes: ACTION / ADVENTURE / ANIMATION / ART HOUSE / COMING OF AGE / DRAMA / INDIE / ROMANCE
Lyric Themes: CHANGE / STRUGGLE / SURVIVAL / TIME
Type: One Stop

Instrumentation:
BASS / DRUMS / PERCUSSION / SYNTH

Track Summary:
24 ON 7 by SYD AND I combines electronic, indie, pop influences, bass, drums, percussion, synth, and atmospheric, cool, dreamy, minimal, moody, percussive, reflective, rhythmic pacing into a vocal-driven storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: ACTION / ADVENTURE / ANIMATION / ART HOUSE / COMING OF AGE / DRAMA / INDIE / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

24 ON 7 by SYD AND I combines electronic, indie, pop influences, bass, drums, percussion, synth, and atmospheric, cool, dreamy, minimal, moody, percussive, reflective, rhythmic pacing into a vocal-driven storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Lyrics

It's been 247
I roll off of my bed right into it again
All my dreams fade away
'cause I'll never close my eyes
I know you'll know me then
But I'm stuck in this loop again
Never gonna wake up again
'Cause I'll never fall asleep
And you'll never get to disappoint me then
'Cause I'll never fall asleep to these images of you and I
I'll never feel the potential fade away
'Cause I won't face it in the night, those feelings of you and I
of you and I
I give up on my head
stuck to the screen and the feeling
If I only played it your way
I'd give up everything I'm trying to keep
I know you'll know me then
But I can't seem to let you in
Never gonna wake up again
'Cause I'll never fall asleep
And you'll never get to disappoint me babe
'Cause I'll never fall asleep to those images of you and I
I'll never feel a potential fade away
'Cause I won't face it in the night, those feelings of you and I
of you and I

Artist Bio

SYD AND I creates sync-focused music shaped by electronic, indie, pop influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
2K4 — SAMUEL WILLIAMS

OMR Cue Map

Track: 2K4
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The instrumental arrangement gives editors room under dialogue while still carrying clear emotional and rhythmic direction. Best used where 2K4 can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: C# Minor
BPM: 102
Genres: FUNK / JAZZ / PARTY / SOUL
Vocals: Instrumental
Moods: CINEMATIC / COOL / DRAMATIC / ENERGETIC / FUN / GRITTY / HAPPY / INTENSE / PARTY / POSITIVE / RETRO / TENSION
Sync Themes: ACTION / ANIMATION / CRIME / DRAMA / THRILLER / VIDEO GAME
Lyric Themes:
Type: One Stop

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR / PERCUSSION

Track Summary:
2K4 by SAMUEL WILLIAMS combines funk, jazz, party, soul influences, bass, drums, electric guitar, percussion, and cinematic, cool, dramatic, energetic, fun, gritty, happy, intense, party, positive, retro, tension pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: ACTION / ANIMATION / CRIME / DRAMA / THRILLER / VIDEO GAME
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

2K4 by SAMUEL WILLIAMS combines funk, jazz, party, soul influences, bass, drums, electric guitar, percussion, and cinematic, cool, dramatic, energetic, fun, gritty, happy, intense, party, positive, retro, tension pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Instrumental Usage

Fully instrumental and one-stop, “2K4” supports cinematic storytelling without lyrical distraction. Especially useful for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Artist Bio

SAMUEL WILLIAMS creates sync-focused music shaped by funk, jazz, party, soul influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
2nd STREET BLUES — PAUL REDDICK

OMR Cue Map

Track: 2nd STREET BLUES
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The vocal performance gives the scene a clear point of view while the arrangement provides usable editorial lift. Best used where 2nd STREET BLUES can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: E Minor
BPM: 96
Genres: FUNK / PUNK / ROCK
Vocals: Male Vocal
Moods: BRIGHT / CINEMATIC / CONFIDENT / FUN / RETRO
Sync Themes: ACTION / ADVENTURE / ANIMATION / ART HOUSE / COMEDY / COMING OF AGE / CRIME / DRAMA / ROMANCE
Lyric Themes: HOME / IDENTITY / LONELINESS / TIME
Type: One Stop

Instrumentation:
BASS / DRUMS / ELECTRIC GUITAR / HARMONICA / KEYBOARD

Track Summary:
2nd STREET BLUES by PAUL REDDICK combines funk, punk, rock influences, bass, drums, electric guitar, harmonica, keyboard, and bright, cinematic, confident, fun, retro pacing into a vocal-driven storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: ACTION / ADVENTURE / ANIMATION / ART HOUSE / COMEDY / COMING OF AGE / CRIME / DRAMA / ROMANCE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

2nd STREET BLUES by PAUL REDDICK combines funk, punk, rock influences, bass, drums, electric guitar, harmonica, keyboard, and bright, cinematic, confident, fun, retro pacing into a vocal-driven storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Lyrics

I’m lookin now baby out at the sea
I don’t see nothin lookin back at me
I’m hangin around out in the wood
I don’t feel nothin like I should
Oh my mind is runnin down
I guess I’ll go back
And hang around town
That’s me darlin hangin round a railway train
I don’t know when I’ll be home again
Driftin and driftin from day to day
I”m beginning to forget why I went a way
Oh my mind is runnin down
I guess I’ll go back
And hang around town
Lookin now darlin at a picture of you
Won’t you tell me what the hell I’m sposed to do
I’m going out walking up the Second street
Where the wind is warm and the air is sweet
Oh my mind is runnin down
I guess I’ll go back
And hang around town

Artist Bio

PAUL REDDICK creates sync-focused music shaped by funk, punk, rock influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
3:15 P.M. — CARLOS MIYARES

OMR Cue Map

Track: 3:15 P.M.
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The instrumental arrangement gives editors room under dialogue while still carrying clear emotional and rhythmic direction. Best used where 3:15 P.M. can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: G# Minor
BPM: 74
Genres: BALLADS / JAZZ
Vocals: Instrumental
Moods: ATMOSPHERIC / CHILL / CINEMATIC / CONFIDENT / COOL / DRAMATIC / LIGHT / LOVE / MOODY / NOSTALGIC / POSITIVE / SOMBER / UPBEAT / WARM
Sync Themes: ADVENTURE / ANIMATION / COMING OF AGE / ROMANCE / THRILLER
Lyric Themes:
Type: One Stop

Instrumentation:
HORNS / KEYBOARD / SAXOPHONE

Track Summary:
3:15 P.M. by CARLOS MIYARES combines ballads, jazz influences, horns, keyboard, saxophone, and atmospheric, chill, cinematic, confident, cool, dramatic, light, love, moody, nostalgic, positive, somber, upbeat, warm pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: ADVENTURE / ANIMATION / COMING OF AGE / ROMANCE / THRILLER
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

3:15 P.M. by CARLOS MIYARES combines ballads, jazz influences, horns, keyboard, saxophone, and atmospheric, chill, cinematic, confident, cool, dramatic, light, love, moody, nostalgic, positive, somber, upbeat, warm pacing into a instrumental storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Instrumental Usage

Fully instrumental and one-stop, “3:15 P.M.” supports cinematic storytelling without lyrical distraction. Especially useful for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Artist Bio

CARLOS MIYARES creates sync-focused music shaped by ballads, jazz influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
5 FINGERS — RAN DE CASA

OMR Cue Map

Track: 5 FINGERS
Clean Intro: Yes
Edit Points: Natural edit points at tension builds, breakdowns, texture changes, and quieter suspense passages for investigative pacing.
Button Ending: Moderate
Loopable: Strong
Best Loop Candidates: 0:10–0:34, 0:45–1:12, low-tension texture beds

Use Case:
Strong sync usability for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease. The vocal performance gives the scene a clear point of view while the arrangement provides usable editorial lift. Best used where 5 FINGERS can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: G# Minor
BPM: 55
Genres: HIP HOP
Vocals: Male Vocal
Moods: CONFIDENT / COOL / LIGHT / MOODY / RHYTHMIC / SWAGGER / UPBEAT
Sync Themes: ACTION / CRIME / THRILLER / VIDEO GAME
Lyric Themes: DREAM / POWER / STRENGTH / SUCCESS / TIME
Type: One Stop

Instrumentation:
BASS / DRUMS / PERCUSSION / SYNTH

Track Summary:
5 FINGERS by RAN DE CASA combines hip hop influences, bass, drums, percussion, synth, and confident, cool, light, moody, rhythmic, swagger, upbeat pacing into a vocal-driven storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Sync Highlights:

• Primary category: Tension / Suspense / Mystery
• Secondary utility: investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease
• Sync themes: ACTION / CRIME / THRILLER / VIDEO GAME
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Tension / Suspense / Mystery placements with crossover utility for investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Stem Tracks

Yes

Track Narrative

5 FINGERS by RAN DE CASA combines hip hop influences, bass, drums, percussion, synth, and confident, cool, light, moody, rhythmic, swagger, upbeat pacing into a vocal-driven storytelling cue. It is strongest for tension / suspense / mystery placements where the scene needs investigative movement, uneasy transitions, crime-adjacent tension, psychological pressure, and scenes that need restrained dramatic unease.

Lyrics

Prezi, Prezi, Prezi, Prezi, Prezi, Prezi
I wanna be seen five figures the dream.
I wanna be clean five figures a piece.
A bite to get right with it ride with me
and mind your biz high on this probably.
Oh this ain't about weed it's a different green,
but once my mission complete five fingers esteem.
I'd bite a bit like it lit five with me.
The lightning too high for them but not for me.
I think I always knew I had a little whack in me.
Chef a meal off the bay on my daiquiri.
We can roll around the rock on some kind of reef.
Make a wave around the block for the pottery.
The way I make my case they think they got a lot of me.
I write it off on a page from the papertree.
That's why I had to purchase a ticket in the lottery.
Making millions off of everything I got with me.
It just depends on what you want depends on what you need,
depends on what you want, depends on what you see, what you see
say your piece five steps from A to B.
Five fingers is enough, five fingers write the dream.
Oh yeah I'm the one I'm trying to be.
I'm the only motherfucker coming everyday for me.
Oh yeah, this is simply A to B.
One life, one chance, one way to be for me.
I'm a dream, I believe I can be the one for me.
Everything that I need is in reach from what I see.
What I see, what I see, seeing seven days a week.
Over half a million minutes every every meeting me.
So much time on my hands that I'm looking like a thief.
I'm on everybody watch once they get to listening.
Look at me glistening, see me sliding on a beat.
Make you wanna play around this is sound luxury.
Oh my goodness, thank God for the bounce in the beat.
From the earth from the ground come and bow in the lead.
Pray for me pray for me, I need blessings for the drink.
bless my hands bless my fingers help me find a way to speak.
depends on what you want depends on what you see,
what you see, say your piece.
five steps from A to B.
Five fingers is enough, five fingers write the dream.
Depends on what you need... Depends on what you want.
Depends on who you be with
I'm the one I'm trying to be for me.
I'm the only motherfucker coming every day to me.
Oh yes, this is simply A to B.
One life, one chance, one way to be for me, me, me, me.
Depends on what you need, depends on what you want.
Depends on what you see, what you see say your piece
five steps from A to B.
Five fingers is enough, five fingers write the dream.
I'm the one I'm trying to be for me.
I'm the only motherfucker coming everyday to me.
One life, one chance, one way to be for me

Artist Bio

RAN DE CASA creates sync-focused music shaped by hip hop influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
60 CLICKS — LEE PALMER

OMR Cue Map

Track: 60 CLICKS
Clean Intro: Yes
Edit Points: Natural cut points around groove entries, vocal hooks, chorus lifts, and rhythm breaks for montage or nightlife edits.
Button Ending: Strong
Loopable: Strong
Best Loop Candidates: 0:12–0:40, 0:48–1:16, primary groove sections

Use Case:
Strong sync usability for social energy, nightlife, swagger, comic lift, confident entrances, party movement, and upbeat montage pacing. The vocal performance gives the scene a clear point of view while the arrangement provides usable editorial lift. Best used where 60 CLICKS can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: D Major
BPM: 77
Genres: COUNTRY / FOLK / SING / SONG
Vocals: Male Vocal
Moods: CAREFREE / CHILL / DRAMATIC / FUN / RELAXING
Sync Themes: COMING OF AGE / DRAMA / HISTORICAL / INDIE / ROMANCE / WESTERN
Lyric Themes: ADVENTURE / DEATH / REGRET / RELATIONSHIP / STRENGTH / TIME
Type: One Stop

Instrumentation:
ACOUSTIC GUITAR / BASS / DRUMS / ELECTRIC GUITAR

Track Summary:
60 CLICKS by LEE PALMER combines country, folk, sing, song influences, acoustic guitar, bass, drums, electric guitar, and carefree, chill, dramatic, fun, relaxing pacing into a vocal-driven storytelling cue. It is strongest for groove / swagger / celebration placements where the scene needs social energy, nightlife, swagger, comic lift, confident entrances, party movement, and upbeat montage pacing.

Sync Highlights:

• Primary category: Groove / Swagger / Celebration
• Secondary utility: social energy, nightlife, swagger, comic lift, confident entrances, party movement, and upbeat montage pacing
• Sync themes: COMING OF AGE / DRAMA / HISTORICAL / INDIE / ROMANCE / WESTERN
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Groove / Swagger / Celebration placements with crossover utility for social energy, nightlife, swagger, comic lift, confident entrances, party movement, and upbeat montage pacing.

Stem Tracks

Yes

Track Narrative

60 CLICKS by LEE PALMER combines country, folk, sing, song influences, acoustic guitar, bass, drums, electric guitar, and carefree, chill, dramatic, fun, relaxing pacing into a vocal-driven storytelling cue. It is strongest for groove / swagger / celebration placements where the scene needs social energy, nightlife, swagger, comic lift, confident entrances, party movement, and upbeat montage pacing.

Lyrics

They lay Billy down today
He wasn't that old, he wasn't that old
He said he'd beat it twice but he came back to stay
It would take him to an early grave
Sixty clicks was all he made
He called a month before he passed
It had been a long time, been a long time
He had one request of me to ask
He seemed at peace and unafraid
Sixty clicks was all he made
You said sixty clicks, man it came and went
Like the first nickel I ever spent
There's no regrets, there's no one to blame
You see I had a good run, had some good fun
Let my gal set up for the years to come
These are to be my final days
Can you write sixty clicks below my name?
In your eyes, sixty clicks below my knee
I traveled eight hundred miles
To shake his hand, to shake his hand
I wasn't in time for his last smile
I wish I could rewrite that date
Sixty clicks was all he made
He said sixty clicks, man it came and went
Like the first nickel I ever spent
There's no regrets, there's no one to blame
You see I had a good run, had some good fun
Left my gal set up for the years to come
These are to be my final days
Can you write sixty clicks below my name?
Can you write sixty clicks below my name?
Can you write sixty clicks below my name?
Can you write sixty clicks below my name?

Artist Bio

LEE PALMER creates sync-focused music shaped by country, folk, sing, song influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.

Request Assets

For WAV files, stems, alt mixes, clearance details, or more information, contact:

sergio@omrmusicproduction.com

Please reference:
123 TO INFINITY — PURPLE FOX & THE HEEBIE JEEBIES

OMR Cue Map

Track: 123 TO INFINITY
Clean Intro: Yes
Edit Points: Natural edit points at rhythmic pushes, section lifts, drum changes, and resolving hits for action or sports-driven pacing.
Button Ending: Strong
Loopable: Moderate
Best Loop Candidates: 0:15–0:45, 0:58–1:28, driving rhythmic sections

Use Case:
Strong sync usability for forward motion, pursuit energy, training sequences, competitive stakes, determined movement, and rising dramatic momentum. The vocal performance gives the scene a clear point of view while the arrangement provides usable editorial lift. Best used where 123 TO INFINITY can support scene movement without overpowering the picture.

Sync Pitch Sheet

Song Profile:
Key: A Minor
BPM: 130
Genres: FUNK / R&B / SOUL
Vocals: Male Vocal
Moods: BRIGHT / CONFIDENT / COOL / ENERGETIC / FUN / POSITIVE / QUIRKY / UPBEAT
Sync Themes: ADVENTURE / ANIMATION / COMING OF AGE
Lyric Themes: CELEBRATION / CONNECTION / RELATIONSHIP / STRENGTH / UNITY
Type: One Stop

Instrumentation:
BASS / DRUMS / KEYBOARD / PERCUSSION

Track Summary:
123 TO INFINITY by PURPLE FOX & THE HEEBIE JEEBIES combines funk, r&b, soul influences, bass, drums, keyboard, percussion, and bright, confident, cool, energetic, fun, positive, quirky, upbeat pacing into a vocal-driven storytelling cue. It is strongest for momentum / action / determination placements where the scene needs forward motion, pursuit energy, training sequences, competitive stakes, determined movement, and rising dramatic momentum.

Sync Highlights:

• Primary category: Momentum / Action / Determination
• Secondary utility: forward motion, pursuit energy, training sequences, competitive stakes, determined movement, and rising dramatic momentum
• Sync themes: ADVENTURE / ANIMATION / COMING OF AGE
• One-stop licensing supports streamlined clearance

Sync Potential

Best suited for Momentum / Action / Determination placements with crossover utility for forward motion, pursuit energy, training sequences, competitive stakes, determined movement, and rising dramatic momentum.

Stem Tracks

Yes

Track Narrative

123 TO INFINITY by PURPLE FOX & THE HEEBIE JEEBIES combines funk, r&b, soul influences, bass, drums, keyboard, percussion, and bright, confident, cool, energetic, fun, positive, quirky, upbeat pacing into a vocal-driven storytelling cue. It is strongest for momentum / action / determination placements where the scene needs forward motion, pursuit energy, training sequences, competitive stakes, determined movement, and rising dramatic momentum.

Lyrics

It goes one, two, three, it's a K I D in the place to be
Can't be no me if there is no we, get together you see, all around the world
From the boys and the girls. It's fate dynamic, don't you panic, don't be manic, can't you stand it?
93 born, can't you see? 86, fat knots don't mix
Seven's trying, sugar spice, twice as nice, and it goes one, two, three
Put your hands up and then you spin around
Wave them side to side and then you just get down
If you want to groove then come and dance with me
It goes one, two, three to infinity
Hands up, spin around
Side to side, just get down
Hands up, spin around
Side to side, just get down
Now, give me a one! One!
Give me a two! Two!
Give me a three! Three!
Three! Three! Three! Three! To infinity! Yay!
Put your hands up and then you spin around
Wave them side to side and then you just get down
If you want to groove then come and dance with me
It goes one, two, three to infinity

Artist Bio

PURPLE FOX & THE HEEBIE JEEBIES creates sync-focused music shaped by funk, r&b, soul influences, with an emphasis on cinematic pacing, emotional clarity, and practical scene usability for film and television.