Status: Draft
Choosing the right person to handle your sound isn’t just another tick on a production checklist. It is a fundamental creative partnership. Whether you are producing a high-stakes commercial, a sprawling RPG, or a gritty documentary, the music is the invisible thread that ties your visuals together and forces the audience to feel exactly what you want them to feel.
As someone who has navigated the scoring process for everything from F1 Manager to The Hatton Garden Job, I’ve seen where the bridges are built and where they occasionally burn. To help you get the most out of your film scoring services, I’ve put together this 10-point checklist. It’s designed to help you navigate the hiring process with confidence and ensure that the final result does more than just fill the silence: it elevates your entire project.
1. Budget with Transparency
Let’s be honest: talking about money can feel uninspired, but it’s the foundation of a professional relationship. A professional media composer doesn't just charge for the notes on the page; you are paying for years of expertise, high-end studio overheads, and the licensing of the work itself.
When you approach a composer, have a clear figure in mind. Does that figure include the recording of live musicians, or are you expecting a high-end "in-the-box" (sampled) score? Being upfront about your constraints allows me to tell you exactly what is possible. I’m always happy to find creative ways to make a budget work, but we need to start from a place of reality.
2. Understand Licensing vs. Buyouts
In the UK and across the globe, the legalities of music can be a minefield. Generally, there are two ways to play this:
- The Buyout: You pay a higher fee upfront to own the music entirely (but I retain the writer's share of the PRS income, since only I can claim that anyway).
- Licensing: You pay for the right to use the music in specific territories or for specific durations, while the composer retains the copyright and the right to collect performance royalties (via PRS/MCPS).
Most TV and film work follows the licensing model because it keeps the initial cost lower for the producer. If you’re working on a project like Dispatches, the licensing framework is well-established. Ensure you know what your distributors require before we sign the contract.
3. The Power (and Danger) of Reference Tracks
Reference tracks: often called "temp music": are a double-edged sword. They are brilliant for communicating a vibe. If you tell me you want something "atmospheric and tense like "Tell No Lies," I immediately have a sonic ballpark to play in.
However, beware of "temp love." This happens when a director listens to a temporary track for months during the edit and becomes so attached to it that anything new sounds "wrong." Use references to show me the direction, then give me the space to create custom music for films that actually fits with your unique narrative arc.
4. Bring the Composer in Early
The biggest mistake you can make is treating music like a "post-production" afterthought. I’ve found that the most successful projects, like my work on Medievil, benefit from early involvement.
When you bring a professional media composer in during the script or storyboard phase, we can begin to find the "soul" of the project. Sometimes, a simple melodic motif written early on can actually influence the rhythm of the edit. If you wait until the last minute, you’re just asking for a band-aid. If you bring me in early, you’re getting a collaborator.
5. The Spotting Session is Sacred
Once you have a "picture lock" (or something close to it), we sit down for a "spotting session." This is where we go through the film frame-by-frame and decide exactly where music starts, where it stops, and what it needs to achieve in between.
During this session, don't talk to me about "C majors" or "staccato strings" (unless you want to). Talk to me about emotion. Tell me that "the protagonist feels isolated here" or "we need to feel the adrenaline of the chase." My job is to translate those emotions into sound.
6. Check for Genre Versatility
Not every composer can move from a gritty crime drama to a whimsical animated series. When you’re looking at film scoring services, check the showreel for range.
Personally, I thrive on the diversity of the job. Moving from the high-octane energy of Friday Night Live to the narrative depth of Me, Myself and Di requires a totally different mental and technical toolkit. Make sure your composer has the range to meet your specific vision.
7. Technical Specs and Deliverables
Before we start, we need to talk about the "boring" stuff:
- Sample Rate: Do you need 48kHz or 96kHz?
- Stems: Do you want just the final mix, or do you need "stems" (separate tracks for drums, strings, synths) so your dubbing mixer has more control?
- Format: Are we mixing in Stereo, 5.1, or Atmos?
Establishing these technical requirements early prevents a massive headache on delivery day. Projects like Rigs: Mechanized Combat League require precise technical delivery to fit within a complex game engine, and the same rigour should apply to your film or TV project.
8. Establish a Feedback Loop
Music is subjective. There will be revisions. A professional media composer should include a set number of revision rounds in their quote.
The key to a good feedback loop is being specific but non-technical. If a track isn't working, tell me why. Is it too busy? Does it feel too "heavy"? Is it distracting from the dialogue? I’d much rather you be brutally honest at the demo stage than polite and unhappy with the final master.
9. The Demo/Pitch Process
If you are deciding between several composers, you might ask for a "demo." Some composers charge for this, some don't, depending on the scale of the project. If you want me to write original material for a pitch, expect to pay a small "demo fee" that is usually deducted from the final fee if I’m hired. This ensures that everyone’s time is respected and that you’re getting a bespoke idea, not something pulled from a drawer.
10. Communication is Everything
At the end of the day, you aren't just hiring a service; you are hiring a person. You need to be able to communicate easily with your composer. We are going to be in the trenches together during the most stressful part of production.
I pride myself on being reachable, direct, and collaborative. Whether we’re working on a massive project like "Brink" or a fast-turnaround commercial, that human connection is what makes the music resonate.
My Portfolio at a Glance
To give you an idea of the volume and variety of work I handle, here is a minimalist look at some of my past credits:
- F1 Manager (Frontier Developments)
- The Hatton Garden Job (Feature Film)
- Dead Pixels (Channel 4 / E4)
- Medievil (Sony Interactive Entertainment)
- The One Show (BBC)
- Hating Peter Tatchell (Netflix)
- Dispatches (Channel 4)
Custom music has the power to transform a good project into an award-winning one. It’s about more than just melody; it’s about the synergy between your vision and my sound. If you’re ready to push the creative boundaries of your next project, let’s talk.
