Soundtrack Production

First, let me start by saying that I really hate buzzwords like X Factor. I find them to be a form of language that people use when they can’t articulate something in descriptive terms. However, in this rare case, I don’t believe there is a better word than X Factor to describe the abstract, intoxicating charisma that makes a piece of music special. So, while I am forced to use a buzzword here, I will try to define it with some good examples.

I think of X Factor elements as what drive a song to trigger a strong emotional reaction. They create a feeling that is powerful enough to influence your state of mind in any direction in a matter of just few bars. There is no book on how to create X Factor, no scale or progression that insures it, and no specific production or performance technique that generates it. It is far more abstract than that. What is important is to learn to recognize it in all forms of music, so you can incorporate it into your music.

The...

What makes a filmmaker see their characters when they hear your music? 

The basic concept is simple: people have a personality and music conveys a personality. The characters in a show have bold parts of their personality which are apparent immediately in their actions, plot lines, fashion, dialog, and attitude. They also have nuances in their personality that are subtle and require more attention to pick up by an audience. These are often the details that writers use to create depth or deception in the arc of a story across a series.

Music shares those same attributes. There are bold sounds, chords, rhythms, and lyrical messages that state the obvious message. There are also subtle details, imperfections, harmonic dissonance, unique choices in lyrical approach, metaphors, tonal temperatures, and slight tempo shifts. This is where the depth of connection takes place through the eyes of the filmmaker. 

The characters in a plot are not perfect. They are rife with...

Every artist is hoping to get their music used in television, games, and films. It's become a critical metric of success for both independent and signed artists in the streaming era. The purpose of Soundtrack Production is to empower you with the methods and techniques I use as a composer, music supervisor, songwriter, and record producer to achieve thousands of music placements in television and film. My success came from learning to analyze and understand the creative vision of the filmmakers, and combine all four of those skills in every piece I write. Throughout this program, I will share my 20 years of tradecraft in all aspects of writing music for picture. 

My first piece of advice to every songwriter and musician who wants to license their music for sync placements, is to realize that your music has to become part of an existing production that already has a defined look, sound, story, and cinematic style. All of  those elements...

This blog will focus on the core concept of my course techniques. It’s the foundation of my success, and one of the most valuable tools I use every day when I am writing for film and television. Make sure you’ve downloaded the e-book Getting Started in Music For Picture, and worked through those exercises first. They are the foundation you will need to understand the concepts here, as I explain how I combine my skills as a composer and music supervisor in every song I write and produce.  Here is the link to the free e-book:

GETTING STARTED IN MUSIC FOR PICTURE

I begin by thinking of a specific show, or shows that I want to target for music placements. I have already gone through the process in the e-book:

• Analyze the work of the filmmakers and understand the creative vision.
• Made a list of mental notes on style, storylines, and characters.
• Played my existing instrumentals against picture to confirm my instincts, or find a basic direction.

Now I enter the...

In the business of song placements, publishers and music catalogs have created an information system with music supervisors referred to as “The Brief”. A Brief is a short description of a pending need for music. It could be a basic overview of a new series or advertising campaign in very general musical terms, or it can be a specific scene, trailer, commercial, or piece of content with detailed information and musical references. It can also be anywhere in between, or have no resemblance to the final music selection, which is the frustration I call Chasing The Brief.

Today you will learn why ‘The Brief’ is an ever-changing news flash of the latest creative ideas in progress, which are often dead in the water long before you ever write the second line of your lyrics. This will offer some insight on the key factors to consider every time a brief comes across your desk: 

THERE ARE MANY DECISION MAKERS: Information is always changing on a production....