ScoreKeepers Music Review: Is “The Supervisor” a Real Production Weapon for TV Editors?

---

---

Some libraries sell music.

ScoreKeepers Music sells workflow.

With a catalog exceeding 140,000 tracks and a proprietary search platform called The Supervisor, ScoreKeepers positions itself not just as a production music library, but as an integrated system built for editors, post teams, and network television.

In high-volume television, speed is currency. Deadlines are brutal. Budgets are controlled. Cue sheets are mandatory. If a library does not streamline all of that, it becomes friction.

The real question is not whether ScoreKeepers has placements. The credit list alone answers that. The question is whether its infrastructure and scale translate into meaningful opportunity for composers and practical advantage for supervisors.

Crucial Music Review: Is This a True Supervisor-Focused Sync Partner?

---

---

Crucial Music does not position itself as a stock music warehouse.

It positions itself as a relationship company.

Since 2006, Crucial Music has operated at the intersection of artists and music supervisors across television, film, and advertising. Their pitch is simple: build a catalog strong enough to matter, then build relationships strong enough to move it.

In sync licensing, that distinction is everything.

The real question is not whether Crucial Music licenses music. The question is whether their relationship-driven model translates into real opportunity for serious composers.

Shockwave-Sound Review: Is It a Serious Licensing Platform or Just Another Stock Music Site?

---

---

Shockwave-Sound Review: Is It a Practical Licensing Platform for Working Composers?

Shockwave-Sound has been operating since 2000, which in internet years makes it ancient.

That longevity alone separates it from the flood of short-lived stock music startups that appear, pivot, and disappear within a few seasons. Shockwave-Sound positions itself as a production music library offering royalty-free music and sound effects licenses for film, television, advertising, corporate video, games, and online media.

The question is not whether it functions. It clearly does. The question is whether it represents a meaningful opportunity for composers building serious licensing catalogs.

This review evaluates Shockwave-Sound through the lens of practical sync strategy, not hype.