Today we’d like to introduce you to Jordan Moed.
Hi Jordan, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
Before Crashline Studios was even a thing, I was just another kid who loved music and wanted to pursue it as far as it would take me. From playing guitar and touring in rock bands to spending every day working on my songwriting craft, music was everything to me. I wanted nothing more than to write, record, and perform music at a very high level.
Fast-forward 20 years, and now I’m running my own studio, managing another, and still actively writing and touring with various projects. I can confidently say that the journey has been incredibly rewarding.
Crashline Studios was built with the same mentality I had as a young teenager: simply do the work, and the rest will come. We started as a basic production suite in North Nashville, where we rented a unit at Diamond Sound Studios. Then, during the COVID shutdown, we transitioned back to our home studios. After COVID, we reinvented Crashline as a one-stop music production studio with a primary focus on sync licensing and film music.
Crashline has gone through many iterations over the years, but this is by far the most fully developed version of our original idea. It’s exciting to see how something that started so simply has evolved into what it is today.
Dan Morin, my co-operator, has been working with me since our days at Full Sail University. From the beginning of that working relationship, we knew we had something special. We’ve been able to grow together creatively and professionally over the years, and having someone who shares that same work ethic and vision has been a huge part of Crashline’s story. When he came on board with me in 2020, we dove heavily into the world of sync licensing and film music, and we haven’t looked back since.
Since then, we’ve had our music placed with media outlets like ESPN, FOX, Food Network, TNT, NFL Football, and many more. We’ve also had commercial placements with brands including AllSaints, Botero Carts, and others. Seeing our music find its way into television, film, sports, and major brand campaigns has been incredibly rewarding, and it’s a testament to the work we’ve put into building Crashline into what it is today.
We all face challenges, but looking back would you describe it as a relatively smooth road?
In hindsight, it might seem from an outside perspective that Crashline Studios’ eight-year run has been a pretty seamless path, but it has been very far from that.
From a co-founder stepping down, to having to relocate the studio because of financial strain, to COVID, and then ultimately building a completely new vision for Crashline, it’s been a constant grind of asking ourselves, “How can we make this studio work? How do we get this thing over the metaphorical hump, get it to stand on its own two feet, and differentiate ourselves from the million-dollar-plus studios that are on every street corner here in Nashville?”
As the years went on, we kept coming back to the original motto I had set for this studio: “Do the work, and the rest will come.” While we may not have had the breakout smash hit come out of this studio that many other studios in Nashville have, we’ve quietly built our repertoire and body of work, while establishing a strong foundation in the sync licensing and film music world. Eventually, that foundation allowed us to earn our seat at the table.
It’s taken everything we’ve had, and then some, to make this work. But looking back, I think that struggle is also what has made Crashline what it is today. We’ve had to constantly adapt, reinvent ourselves, and find ways to compete without trying to be something we’re not. And after eight years, we’re still here, still creating, and still doing the work.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
I’m the owner and co-operator of Crashline Studios Nashville, and our studio specializes in high-quality, deadline-driven, industry-standard productions catered specifically to the sync licensing and film music industries.
While we do offer recording, mixing, and mastering services, those were never going to be our bread and butter. As I mentioned before, Nashville is home to hundreds of high-quality recording studios, many with historic legacies and years of successful records to prove it. From the very beginning, we knew we didn’t want to simply try to compete with those studios. Instead, we wanted to carve out our own story and find our own place within the Nashville music industry.
That’s when we really started leaning into the sync licensing and film music world. We saw an opportunity there, and our preparation, knowledge, and willingness to put in the work allowed us to seize those opportunities and turn them into something sustainable.
That approach has really become the identity of Crashline. We’re not trying to be everything to everyone. We’ve found our lane, built our expertise around it, and continued to grow the studio by doing the work and delivering when the opportunities come.
One of the coolest moments I’ve had with this studio actually happened at a Nashville Predators game. My wife and I were at the game one night, sitting in a box suite and having the best time. The tickets were free, which already made it a pretty great night, but at some point I checked my phone and happened to have the website TuneSat open. TuneSat is a service that tracks music placements across broadcast and digital platforms.
I noticed that we were getting placements from the exact game I was sitting in at that moment. Hearing our music being used on the broadcast while I was actually there in the arena was one of those surreal moments where you stop and think, “Wow, we’re really doing this.” It was especially cool because I wasn’t sitting at home waiting for a placement to show up on a report—I was literally watching it happen in real time.
I think that ties directly into what separates us from others: our work ethic. Our motto has always been, “Do the work, and the rest will come.” We don’t just stop at the minimum expectations. We go above and beyond because we want to make sure that when people finish working with us, they’re not only satisfied with the result, but they know we put everything we had into it.
That kind of work ethic can take you very far, especially when you’re consistent with it. For us, it’s not about one big moment or one big placement. It’s about continuing to show up, continuing to do great work, and building something that lasts.
We all have a different way of looking at and defining success. How do you define success?
Success has always meant something pretty simple to me: Would the younger Jordan look at where I am today and do backflips because of how excited he would be?
The second question I ask myself is, “Does this decision ultimately help make my life and my family’s life better?”
Those two questions really determine how successful I feel I am. They also help me figure out what the next steps in my life should be. At the end of the day, success isn’t necessarily about how big the studio is, how many placements we get, or how much money we make. Those things are great, but for me, success is being able to look at the life I’ve built and know that the younger version of myself would be proud of it and that I’m continuing to build a better life for myself and my family.
Pricing:
- Sync Production: Project based quotes
- Mixing: $200 a song + 3 edits
- Mastering: $100 + 2 edits
- Tracking: $325 a day
- Social Media Strategy: $350 a month
Contact Info:
- Instagram: https://www.instagram.com/crashlinestudios/
- Facebook: https://www.facebook.com/CrashlineNashville/
- Youtube: https://www.youtube.com/channel/UCubJa2B9fxLXmUjxqbpN5yg
