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#1667
Kole Hicks
Participant

Alright, Jesse, so I had a little time & thought of a few questions I’d like to gather your thoughts on. I’ve always been curious about these things from a Music Supervisor perspective, so I appreciate your feedback. Hopefully other people will find these questions useful as well.

When listening to various Composer demos for a potential project:

1) In that first 30s to 1 minute track, is there something you immediately listen for to help tell you, “Yes this guy/gal could fit the bill.” Perhaps the production, orchestration, unique textures, melody, etc. Maybe even a “checklist” of prerequisites?

2) Is there a specific order or “flow” you like demo reels to have? Ex: Upbeat/Fast Tracks first, Slow/intimate in the Middle, End with medium tempo

3) If almost no information is given about the project and Composers are just supposed to send in their Reels, do you find yourself pleasantly surprised (and thus hold them at an advantage over the other applicants) at the people who take the time/effort to research the potential project & then create a new reel based off that? Or do you just listen for quality (perhaps the items mentioned in #1 above) across the board?

4) In an effort to understand the importance of applying to a listing immediately/quickly… Let’s say you get tons of Composer reel submissions for a project; approximately how many do you actually listen to before making your decision?

5) If the submissions are done by e-mail, what dictates which e-mails you open & listen to? Do you just go in order of when they were sent or do you look for unique (but professional) subject lines?

6) What is the best way to follow-up with a Music Supervisor to see if they’ve listened to your reel yet or if they’ve already made a decision? How frequent is too frequent (aka feels like spam)?

7) If there are two main candidates, one with more experience than the other, but you think the one with less experience can nail the style, does anyone else above you ever get involved to overturn your decision? Or are the Music Supervisors/Audio Directors THE final word on hiring a Composer?

Thanks very much!