So what exactly is Sparks? Well… We’re not a music library, we’re a catalogue of musical ideas used to kickstart a collaborative process between creative and composer.

We put Sparks in front of Advertising Agencies, Editors, Directors, Music Supervisors & Content Producers who need music for their projects.

When a client chooses your Spark, we work with you (and them) to develop the Spark and turn it into a tailored piece that fits their brief and picture perfectly.

After the project is complete, the original Spark remains on the platform awaiting new interest for future projects.

We are always on the hunt for new and exciting composers and artists.

We ask that submissions are your original music that you own and control 100% of the copyrights in both the composition and master recording. We are open to interesting re-records and covers but please make it very clear when submitting.

We’re not fans of soundalikes and using uncleared samples. If you decide to use samples, please please please make sure they come from pre-cleared sample libraries and avoid any musical loops from Splice or Output Arcade unless used creatively (chop chop chop!).

When you have new Sparks you’d like to send our way, please head over here and fill in your details and pop your name and date as the playlist title.

Please make sure that files are:

• named clearly with your name/artist name and the track title
• in 48k WAV format
• free of any clicks or pops at the start or end

We’ll then be in touch with the next steps!

Any income we receive from the exploitation of the musical compositions and sound recordings (excluding performing right and neighbouring right income) is divided with the composer 50/50. This would include sync, mechanical and streaming income.

The reason that performing right and neighbouring right income is excluded from the composer’s royalty entitlement on our agreement is because the composer collects the writer’s share and artist’s share of performing right and neighbouring right income (respectively), i.e. 50%, from PRS and PPL.

Sparks, as the publisher and label, would collect the publisher’s share and rightsholder’s share of performing right and neighbouring right income (respectively), i.e. the remaining 50%, from PRS and PPL.

Sorry in advance… contracts give us a headache too.

The original composer is always given the first opportunity to make the changes required but if for some reason the original composer is unavailable then as a last resort, we can appoint a third party to make the changes. We then are only deciding the splits of any Derivative Work (not the original Spark) exercising the “good faith”, which is also to the composer’s benefit.

Remember this only applies to substantial amendments rather than trivial amendments for re-timing purposes, edits etc. In these instances, the original composer’s entitlement would not be reduced.

On our non-exclusive agreement, when a Spark gets a placement, we create a new registration with an alternate title on PRS. For example, ‘Your Spark x Toyota’.

This means we can easily figure out the right splits and only work off of what royalties have been generated by our sync and not interfere with your existing royalty stream.