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THE 2015 INTERNATIONAL MUSIC+SOUND AWARDS IS NOW OFFICIALLY OPEN FOR ENTRIES.

ENTER NOW: ENTRIES.MASAWARDS.COM

We are proud to be the first ever global awards programme dedicated to music and sound for the creative media industries.

Launched on 1st October 2011 in the UK, the Music+Sound Awards is now a global organisation that recognises and celebrates the indispensable role that music and sound design play in the world of visual media. We welcome all production partners to enter their work and put themselves on the worldwide stage through our Awards programme.

Music+Sound International has been set up to establish the criteria and standard for international excellence in music and sound for visual media and to shine a light on those who create, source and commission it. We encourage everybody involved in a production to come together and celebrate the art and talent involved in what is an essential part of any commercial, film, video game or TV show.

About

A global celebration of music and sound design...

The Music+Sound Awards are the World’s first and only awards programme to recognise and celebrate the indispensable role and outstanding contribution that music and sound design plays in the world of visual media. Aimed at professionals working in advertising, film, television (branding and programming) and gaming, the awards are open to anyone who is or has been involved in the creation, composition, sourcing, licensing, briefing and / or production of music and sound design for any visual media.

We welcome everybody involved in production to celebrate the role of music and sound design within their finished work. One could argue that music and sound make up at least 50% of the overwhelming majority of visual media, yet there just isn’t enough recognition for it, until now. Can you imagine a hamlet cigar commercial without Bach’s Air on a G String, a Film or TV programme without its score or a video game without sound effects? The music and sound design industry is thriving in all areas of the media and its incredible talent deserves celebration and recognition for what it achieves.

The awards categories have been created to include the widest possible use of music and sound in visual media. They invite entries from television and cinema commercials, non-broadcast or viral advertising, branding and title sequences, feature films, television programmes and video games. Each of these areas will be judged for: best original composition, best sound design and best sync/use of existing music.

Legal Stuff

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You may request details of personal information which we hold about you under the Data Protection Act 1998. If you would like a copy of the information held on you please email hello@masawards.com. If you believe that any information we are holding on you is incorrect or incomplete, please email hello@masawards.com as soon as possible. We will promptly correct any information found to be incorrect.

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Refunds, Returns and Delivery

We regret that we are unable to refund money for entries to the Music and Sound Awards unless we close a category due to inadequate submissions. In the event that a category is closed, entrants will receive a full refund for their entry, less the small fee charged by our checkout merchant.

Ticket sales are non-returnable and non-refundable unless the event is cancelled. In the event that the Awards Ceremony is cancelled Music+Sound Awards Ltd. will refund all ticket sales in full, less the small fee charged by our checkout merchant to process the original order.

How to Enter

ELIGIBILITY

To be eligible for consideration for a Music+Sound Award your work must have been broadcast, published or released with client approval between 31st October 2013 and 27th March 2015.

All work submitted must be in the form it was broadcast, published or released with all the logos, trademarks and copy marks intact and must be dubbed or subtitled in English. Any work created solely for the purpose of entering this competition will be disqualified and in the case of a query by the Jury or Board the entrant will be required to provide documentary evidence to prove eligibility of entry.

UPLOAD AT: ENTRIES.MASAWARDS.COM

ENTRY FEES

Advertising, television and film entries: £100 per entry, per category
Gaming entries: £50 per entry, per category
Short film entries: £50 per entry, per category

TECHNICAL SPECIFICATIONS

Video Entries
File: .mov or .mp4 files only
Resolution: 1920x1080, or at least 1280x720
Frame Rate: 25 fps
Codec: Mov or Mpeg4, H264
Data Rate: Minimum 5,000kbps / Maximum 10,000kbps
Sound: Linear PCM 48KHz
Maximum file size: 100 MB per minute of footage

Cinema Entries
File: .mov or .mp4 files only
Resolution: 1920x1080, or at least 1280x720
Frame Rate: 25 fps
Codec: Mov or Mpeg4, H264
Data Rate: Minimum 5,000kbps / Maximum 10,000kbps
Sound: Linear PCM 48KHz
Maximum file size: 100 MB per minute of footage

Radio Entries
File: .wav or .mp3 files only
MP3: 320 kbps / stereo
WAV: 44.1KHz or 48KHz / stereo interleaved

CATEGORIES

BEST ORIGINAL COMPOSITION

BROADCAST ADVERTISING

Original compositions that were created specifically for use as part of a television or cinema advertising campaign. Compositions originally created for another advertising medium and used in this space during the eligible window are acceptable.


ONLINE, VIRAL + AMBIENT ADVERTISING

Original compositions created specifically for advertising in the non-broadcast, ambient and digital domains. Compositions originally created for another advertising medium and used in this space during the eligible window are acceptable.


FEATURE FILM - SINGLE SCENE

Original compositions that were created specifically for a feature film score. This category does not include title sequences or film trailers. A single scene or excerpts from a film can be entered for consideration.


TELEVISION PROGRAMME SCORE

Original compositions created for a television programmme as part of it's incidental score. This category does not include television title sequences or programme trailers. A single scene or excerpts from an episode or series can be entered for consideration.


SHORT FILM SINGLE SCENE

Original compositions that were created specifically for a short film score. A single scene or full length film can be entered for consideration.


GAMING

Original compositions created for in-game play including those created for consoles, desktop games, mobile games/apps and online gaming. Entrants must upload a clip of no more than 5 minutes of in-game footage showcasing the composition as it would be experienced by the player. Should the work be shortlisted for inclusion in the second round of judging, the entrant will be contacted and asked to provide access to the game/s so that it can be played by the jury.


TRAILERS + PROMOS

Original compositions created specifically for use as part of a trailer or promotional film.


TITLE SEQUENCES

Original compositions created specifically for programme or film title sequences.


BRANDING + IDENTS

Original compositions created specifically for branding purposes. This category includes sonic logos, brand identities and channel identities.


BEST SYNC / USE OF EXISTING MUSIC

BROADCAST ADVERTISING

Use of existing music in television and/or cinema advertising. Music originally licensed for another advertising medium that is broadcast during the eligibility window with client approval on television is also acceptable.


ONLINE, VIRAL + AMBIENT ADVERTISING

Use of existing music in advertising in the non-broadcast, ambient and digital domains. Tracks originally licensed for another advertising medium and used in this one are acceptable provided it is within the eligibility window.


FEATURE FILM SOUNDTRACK

Use of existing music in a feature film. A single scene or excerpts from a full length film can be entered for consideration.


SHORT FILM SOUNDTRACK

Use of existing music in a short film. A single scene or full length film can be entered for consideration.


TELEVISION PROGRAMME SCORE

Use of Existing Music in a televison program as part of it's incidental score. This category does not include title sequences or film trailers. A single scene or excerpts from an episode or the series can be entered for consideration.


TRAILERS + PROMOS

Use of existing music in a trailer or promotional film.


BRAND + BAND PARTNERSHIP

Brands that engage an artist / band in any medium, and that uses the synergy of brand values and artist profile to enhance and communicate a campaign, be that an advertising campaign, a product launch and / or an album campaign etc. This might be in single or multiple media and does not have to include broadcast media.


RE-RECORDS + ADAPTATIONS

BROADCAST ADVERTISING

Re-recorded, remixed, re-arranged and/or re-interpreted versions of existing musical works created specifically for an advertising campaign aired on television or in cinemas. Cover versions already in existence are not applicable and should be entered into the relevant Sync / Use of Existing Music category.


ONLINE, VIRAL + AMBIENT ADVERTISING

Re-recorded, remixed, re-arranged and/or re-interpreted versions of existing musical works created specifically for advertising in the non-broadcast, ambient and digital domains. Cover versions already in existence are not applicable and should be entered into the relevant Sync / Use of Existing Music category.


FEATURE FILM - SINGLE SCENE

Re-recorded, remixed, re-arranged and/or re-interpreted versions of existing musical works created specifically for a film soundtrack. Cover versions already in existence are not applicable and should be entered into the relevant Sync / Use of Existing Music category.


TRAILERS + PROMOS

Re-recorded, remixed, re-arranged and/or re-interpreted versions of existing musical works created specifically for a trailer or promo. Cover versions already in existence are not applicable and should be entered into the relevant Sync / Use of Existing Music category.


BEST SOUND DESIGN

TELEVISION ADVERTISING

Creative use of sound and sound effects in television advertising. Commercials originally created for another medium that are aired with client approval during the eligibility window on television are also acceptable.


CINEMA ADVERTISING

Creative use of sound and sound effects in cinema advertising. Commercials originally created for another medium that are aired with client approval during the eligibility window in cinema are also acceptable.


ONLINE, VIRAL + AMBIENT ADVERTISING

Creative use of sound and sound effects in advertising in the non-broadcast, ambient and digital domains. Commercials originally created for another medium that are aired with client approval during the eligibility window are also acceptable.


TELEVISION PROGRAMME

Creative use of sound and sound effects within a television program. A single scene or excerpts from an episode or series can be entered for consideration.


FEATURE FILM

Creative use of sound and sound effects within a feature film. A single scene or excerpts from the film can be entered for consideration.


SHORT FILM

Creative use of sound and sound effects in a short film.


GAMING

Creative use of sound and sound effects accompanying in-game play including those created for consoles, desktops, mobile apps and online gaming. Entrants must upload a clip of no more than 5 minutes of in-game footage showcasing the composition as it would be experienced by the player. Should the work be shortlisted for inclusion in the second round of judging, the entrant will be contacted and asked to provide access to the game/s so that it can be played by the jury.


RADIO ADVERTISING

Creative use of sound and sound effects in radio advertising. Commercials originally created for another medium that are aired with client approval during the eligibility window are also acceptable.


TRAILERS + PROMOS

Creative use of sound and sound effects in trailers and promotional film and video created for any medium.


BEST AUDIO MIX IN A COMMERCIAL

Manipulation and handling of all audio elements used to create a commercial's soundtrack. Work can be entered from any advertising medium.


BEST AUDIO PRODUCTION IN GAMING

Many different aspects of production go into a great sounding game, including sound design, music composition and production, dialogue, mixing and the interactive implementation of those assets. This award recognises and celebrates all those disciplines coming together.


2014 Winners

2014 Finalists

Please click on a category below to see the finalists.

Best Original Composition

Best Original Composition in Branding and Title Sequence

Best Original Composition in Cinema Advertising

Best Original Composition in Feature Film Score

Best Original Composition in Gaming

Best Original Composition in Non-Broadcast and Viral Advertising

Best Original Composition in Short Film Score

Best Original Composition in Television Advertising

Best Original Composition in Television Programme Score

Best Original Composition in Trailers and Promos

Best Sound Design

Best Sound Design in Best Audio Mix in a Commercial

Best Sound Design in Best Audio Production in Gaming

Best Sound Design in Branding & Title Sequence

Best Sound Design in Cinema Advertising

Best Sound Design in Gaming

Best Sound Design in Non-Broadcast and Viral Advertising

Best Sound Design in Radio Advertising

Best Sound Design in Short Film Score

Best Sound Design in Television Advertising

Best Sound Design in Television Programme Score

Best Sound Design in Trailers and Promos

Best Sync/Use Of Existing Music

Best Sync/Use Of Existing Music in Brand and Band Partnership

Best Sync/Use Of Existing Music in Cinema Advertising

Best Sync/Use Of Existing Music in Feature Film Soundtrack

Best Sync/Use Of Existing Music in Non-Broadcast and Viral Advertising

Best Sync/Use Of Existing Music in Re-Records and Adaptations

Best Sync/Use Of Existing Music in Television Advertising

Best Sync/Use Of Existing Music in Trailers and Promos

Best Use of Production Music

Best Use of Production Music in Branding & Title Sequences

Best Use of Production Music in Non-Broadcast & Viral Advertising

Best Use of Production Music in Television Advertising

Best Use of Production Music in Trailers & Promos

Jury

Advertising: Music

Loren Parkins: SVP, Executive Music & Radio Producer @ BBDO
Michael Freeman: Senior Music Producer @ Ogilvy & Mather NY
Josh Rabinowitz: SVP, Director of Music @ Grey
Paul Greco: Director of Music and Radio @ JWT
Zach Pollakoff: Senior Music Producer @ Ogilvy
Jessica Dierauer: Music Supervisor / Producer
Riyadh Drebika: Senior Music Producer @ Sizzer Amsterdam

Advertising: Sound Design

Marshall Grupp: Founding Partner / Senior Sound Designer @ Sound Lounge
Alex Nicholls - Lee: Senior Sound Designer @ Wave Studios
Philip Loeb: Partner . Senior Sound Designer @ Heard City
Torsten Hennings: Sound Engineer, Director and Branch Manager @ Studio Funk
Andrew Diey: Founder @ Radium Audio
Geert van Gaalen: Owner, Composer and Sound Designer @ Studio de Keuken

Advertising: Agency

Sascha Hanke: Executive Creative Director @ Kolle-Rebbe
Neil Simpson: Executive Creative Director @ Sapient
Hermann Waterkamp: Executive Creative Director @ Leagas Delaney
Ljubomir Stoimenoff: Executive Creative Director @ Publicis
Ben O'Brien: Executive Creative Director @ O'Shea and O'Brien
Paul Nagy: Executive Creative Director @ Clemenger
Steve Coll: Executive Creative Director @ Havas World Wide
Ciro Sarmiento: Executive Creative Director @ Dieste
Christy Peacock: Executive Creative Director @ Joy
Sarah Dietz: Executive Creative Director @ Dieste
Lee St. James: Executive Creative Director @ Grey
Michael Knox: Executive Creative Director @ Grey
Justin Peters: Executive Creative Director @ Siegel + Gale
Mark Ray: Executive Creative Director @ North
Uwe Koebbel: Executive Creative Director @ Gramm
Paul Behnen: Executive Creative Director @ Barkley

Sync: Publishers + Labels

Adam Wolf: VP of Syncronization @ Rip Tide Music Group
Jeanette Perez: VP, Music for Brands / Advertising @ Sony Music Entertainment
Brian Monaco: EVP, Commercial Music Group @ Sony ATV Music Publishing
Keith D'Arcy: Creative Licensing & Catalog Manager @ Songs
Simon Greenaway: Director of Film & TV UK/Europe @ ASCAP
Itamar Shafir: Creative Manager - Advertising & Games @ Universal Music Publishing

Film & TV Music

Mary Ramos: Music Supervisor: Inglorious Basterds, Pulp Fiction, Django Unchained, Kill Bill
Guy Farley: Composer: The Hot Potato, Cashback, The Flock
Maurizio Malagnini: Composer: The Paradise, Muddle Earth
Tree Adams: Composer: Californication, Keith, Dawn of the Dead
John Houlihan: Music Supervisor: Looper, Training Day, Austen Powers
Roc Chen: Composer: Legendary Amazons, Eyeborgs
George Christopoulos: Composer Agent
Mario Grigorov: Composer: The Paperboy, Precious, Shadowboxer

More coming soon...

2013 WINNERS

Please click on a category below to see this year's winners.

Best Original Composition

Best Sound Design

Best Use Of Existing Music

2013 Finalists

Please click on a category below to see the finalists.

Best Original Composition

Best Original Composition in Branding and Title Sequence

Best Original Composition in Cinema Advertising

Best Original Composition in Feature Film Score

Best Original Composition in Gaming

Best Original Composition in Non-Broadcast and Viral Advertising

Best Original Composition in Short Film Score

Best Original Composition in Television Advertising

Best Original Composition in Television Programme Score

Best Original Composition in Trailers and Promos

Best Sound Design

Best Sound Design in Best Audio Mix in a Commercial

Best Sound Design in Best Audio Production in Gaming

Best Sound Design in Branding & Title Sequence

Best Sound Design in Cinema Advertising

Best Sound Design in Feature Film Score

Best Sound Design in Gaming

Best Sound Design in Non-Broadcast and Viral Advertising

Best Sound Design in Radio Advertising

Best Sound Design in Short Film Score

Best Sound Design in Television Advertising

Best Sound Design in Television Programme Score

Best Sound Design in Trailers and Promos

Best Sync/Use Of Existing Music

Best Sync/Use Of Existing Music in Agency of the Year

Best Sync/Use Of Existing Music in Brand and Band Partnership

Best Sync/Use Of Existing Music in Cinema Advertising

Best Sync/Use Of Existing Music in Feature Film Soundtrack

Best Sync/Use Of Existing Music in Non-Broadcast and Viral Advertising

Best Sync/Use Of Existing Music in Re-Records and Adaptations

Best Sync/Use Of Existing Music in Short Film Soundtrack

Best Sync/Use Of Existing Music in Television Advertising

Best Sync/Use Of Existing Music in Television Programme Soundtrack

Best Sync/Use Of Existing Music in Trailers and Promos

Best Use of Production Music

Best Use of Production Music in Branding & Title Sequences

Best Use of Production Music in Cinema Advertising

Best Use of Production Music in Feature Film Score

Best Use of Production Music in Gaming

Best Use of Production Music in Non-Broadcast & Viral Advertising

Best Use of Production Music in Short Film Score

Best Use of Production Music in Television Advertising

Best Use of Production Music in Television Programme Score

Best Use of Production Music in Trailers & Promos

2013 Jury

Judging will be rigorous, but fair...

Every member of the panel will judge the entries in their respective discipline without bias or prejudice. The entrant of every piece of work will remain anonymous. If the jury member has been involved in a piece of work that has been entered or has an association with a piece of work via his or her company, he / she will not be allowed to vote for that entry. Collectively, their votes and voices will determine the winners and finalists. Each jury member will be briefed by the Board of the Music+Sound Awards on what to look for and will be expected to add this to their own experiences and expertise to decide who should be nominated for the Awards.

Advertising

Tim Mellors: Chief Creative Head @ Grey Group | Global
Steve Back: Chief Creative Officer @ Ogilvy | Singapore
Weerachon Weeraworawit: Head of Creative @ Well Done | Bangkok
Neil Simpson: Creative Director @ Sapient Nitro | Berlin / Munich
Klaus Flemmer: Head of TV @ Publicis | Frankfurt
Sascha Hanke: Executive Creative Director @ Kolle Rebbe | Hamburg
Rick DePofi: Creative Director @ NY Noise | New York
Geert van Gaalen: Creative Director @ Studio De Keuken | Amsterdam
Loren Parkins: Music Producer @ BBDO | New York
Paul Greco: Music Producer @ JWT | New York
Josh Rabinowitz: Music Producer @ Grey | New York
Zach Pollakoff: Music Producer @ Grey | New York
Ryan Fitch: Music Producer @ Saatchi & Saatchi | New York
Jessica Dierauer: Music Producer @ Y&R | New York
Karl Westman: Executive Music Producer @ Ogilvy | New York
Simon Kane: Sound Designer @ Song Zu | Sydney
Koo Abuali: Executive Producer @ Apollo Studios | LA
Yan Dal Santo: President & Creative Director @ Apollo Studios & Apollo Music Store | LA
Marshall Grupp: COO / Partner / Sound Designer @ Sound Lounge | New York
Phil Loeb: Sound Designer @ Heard City | New York
Alex Nicholls-Lee: Sound Designer @ Wave Studios | Amsterdam
Warren Hamilton: Creative @ Wave Studios | London
Michiel Marsman: Creative Director @ Sizzer | Amsterdam
Timm Webber: Executive Creative Director @ Grabarz & Partner | Hamburg
Alex Brunori: Executive Creative Director @ McCann World Group | Italy
Martin Schitto: Executive Creative Director @ Schitto Schmodde Werbung GmbH | Frankfurt
Felix Glauner: Chief Creative Officer @ Havas Worldwide | Düsseldorf
Eddy Greenwood: Executive Creative Director @ JWT | Netherlands
Cristiano Tonnarelli: Creative Director @ Leo Burnett | Milan
Hermann Waterkamp: Creative Director @ Leagas Delaney | Hamburg
Marc Algranti: International EP @ Pulse Music | South Africa
Graham Lang: CCO @ Y&R South Africa | South Africa
Philip Ireland: CCO @ Ireland Davenport | South Africa
Tseliso Rangaka: Creative Director @ Ogilvy | South Africa
Dulcidio Caldeira: Commercials Director @ Dulcidio Caldeira | Brazil

Film & TV

Søren Stærmose: Executive Producer @ Yellow Bird | Stockholm
Guy Farley: Composer: The Hot Potato / If I Were You / The Flock | London
Klaus Badelt: Composer: Pirates of the Caribbean / Constantine / Gladiator (2000)
Justin Burnett: Composer: The Town / Man on Fire / Kill Point
Gingger Shankar: Composer: The Passion Of The Christ / Dose of Reality / Circumstance
Lesley Barber: Composer: The Moth Diaries / You Can Count On Me
Martin Davich: Composer: ER / NCIS: LA
Didier Rachou: Composer: Sex and the City / Deadliest Catch / Storm Chasers
Mary Ramos: Music Supervisor: (Inglorious Basterds / Kill Bill Vol.2) | LA
Martín Hernández: Sound Designer : Pans Labyrinth / Babel / Into the Wild / 21 Grams
Sue Hepworth: SATV Publishing Manager @ BSkyB | London
Daryl Berg: Vice President @ Shine America | USA
Brian Brasher: Founder @ Pitch Hammer Music | LA
Roc Chen: Composer: Jackie Chan's Chinese Zodiac / A Bite of China / Heroes of Might
Simen Alsvik: Director: Lilyhammer / Luftens Helter | Norway
George Christopoulos: Agency Director @ Oticons | Germany
Thomas Jamois: Music Supervisor @ Creaminal | Paris
Liz Gallacher: Managing Director / Music Supervisor @ Velvet Ears | LA
Geir Jenssen: Composer: Nokas / In the Shadows | Norway

Gaming

Rod Abernethy: Composer: RAGE / Despicable Me / Dead Space | US
Ron Fish: Batman: Composer: Arkham City / God of War / Fantastic Four - Rise of the Silver Surfer | US
Greg Edmonson: Composer: Uncharted / Uncharted 2 / Uncharted 3 | US
Jukka Rintamaki: Composer: Battlefield 3 | Sweden
Ian Livingstone: Composer: F1 2012 / Company of Heroes / Battlefield 1943 | UK
Joris de Man: Composer: Killzone / Killzone 2 / N+ | UK
Martin Stig Andersen: Award Winning Sound Designer: Limbo | Denmark
Jason Graves: Award Winning Composer: Dead Space 2 | US
Rob Bridgett: Audio Director: Prototype / Scarface | Canada
Gene Semel: Senior Sound Manager: SCEA | US
Ben Minto: Audio Director: EA Dice | Sweden
Keiichi Kitahara Senior Sound Designer: Sony Playstation: Japan
Kristofor Mellroth Audio Director: Microsoft
Duncan Smith Music Supervisor: SCEE | UK
Paul Lipson Audio Director: Microsoft Game Studios | US

Labels and Publishing

Brian Monaco: EVP, Commercial Music Group @ Sony/ATV Music Publishing | New York
Jeanette Perez: VP of Music for Advertising @ Sony Music | New York
Marc Mannino: Independent Music Sync Comsultant | New York
Itamar Shafrir: Creative Manager - Ads & Games @ Universal Music Publishing | London
Dave Pettigrew: SVP / Head of Advertising & Games @ Warner Chappell | New York
Tom Eaton: VP of Music for Advertising @ Universal Music Publishing | New York
Simon Greenaway: Director of Film & TV UK / Europe @ ASCAP | London
James Cooper: Senior Synch & Marketing Manager @ Sony/ATV Music Publishing | London
Keith D'Arcy: Creative Licensing & Catalog Acquisition @ Songs Music Publishing | LA
Rich Robinson: VP of Synchronisation in Europe & ROW @ EMI | London
Adam Wolf: VP of Creative Film, Advertising & TV Music @ Pig Factory | LA

Plage Goeland
Cannes 21.06.13

On the 21st June 2013 the International Music+Sound community came together to meet and celebrate with us at our party on Plage Goeland on the final night of the Cannes Lions Festival of creativity.

Described by many as the best party of the week, the Music+Sound Awards party played host to DJs David O, Sam Hardaker (Zero 7) and the one and only DJ Yoda all finally giving the music and sound industries a much needed presence in Cannes.

We would like to thank the following companies for making the 'International Party' possible:

2013 PARTNERS

Contact

Music+Sound Awards
Kemp House
152-160 City Road
London
EC1V 2NX

General Enquiries: hello@masawards.com
Technical Support: support@masawards.com
Entries: entries@masawards.com

Nick Payne | Founder: nick@masawards.com
Dan Neale | Founder: dan@masawards.com
Emma Maguire | Awards Producer: emma@masawards.com

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