Cutting Edge Group acquires composer Brian Tyler's music rights and royalties

Cutting Edge Group has bought the music rights and royalty streams of Brian Tyler, the composer behind Fast & Furious, Marvel films and the Yellowstone universe.

Cutting Edge Group (CEG) has acquired the music rights and royalty streams tied to the catalog of film and TV composer Brian Tyler, announced on July 16, 2026. Financial terms were not disclosed, although CEG describes the transaction as one of the largest ever completed for the rights of a single film and TV composer.

What changes hands

CEG takes over the rights and income streams attached to Tyler's body of screen work. The announcement does not break the deal down into publishing and master shares, and it does not say whether CEG bought all of Tyler's interest or a portion of it. The catalog runs to more than 60,000 minutes of music, written for films that together have grossed over $21 billion at the global box office.

The catalog

  • Fast & Furious: Tyler scored several entries in the franchise.
  • Marvel films: including Iron Man 3, Thor: The Dark World and Avengers: Age of Ultron.
  • Yellowstone universe: his music for Taylor Sheridan's TV franchise.
  • Formula 1 theme: the first official theme for F1, played during every race broadcast.
  • Other scores: Crazy Rich Asians, The Super Mario Bros. Movie, Now You See Me and Rambo: Last Blood.

Tyler was named a BMI Icon in 2022 and has received three Emmy nominations.

Why it matters

CEG specializes in media music, and this purchase adds to a portfolio it values at more than $1 billion, covering over 400,000 owned or managed rights. The company has been busy: it formed a joint venture with Warner Bros. Discovery in January 2025, bought the full TV music catalog of AMC Studios (including The Walking Dead) in September 2025, and acquired the catalog of composer John Paesano earlier in 2026.

For rightsholders, the deal shows that score and soundtrack income is now treated as an investable asset class of its own, not a niche next to pop songwriting. Composers with long credit lists in franchises that keep airing, streaming and getting sequels can expect specialist buyers to compete for their catalogs, since performance income from film and TV tends to be steady and long-lived.

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