Category: Music for Kids Media

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I’m the music producer and music supervisor for a podcast pilot. What does that even mean?

The title music producer is used for many different roles in the music industry. I’ve worked awhile as a composer and songwriter, and I’ve met a lot of people who introduce themselves as a music producer, though to be honest I’m not always sure what they do! A music supervisor is another title that is generally a little more straight forward, but might not always be that clear to everyone. While I can’t speak to what all those other folks do on other projects, I did get the opportunity to function as a music producer and music supervisor on a podcast. So what do I do?

As a music producer and music supervisor, my primary job is to make sure we have the right, great music that matches our exciting, educational and fun story. Also, I’m committed to making sure it is really great-sounding and broadcast quality. In a nutshell, this means leading and owning the efforts of music discovery, music direction, casting, (a little) composing, mixing, editing, and revising. I’ll break down each of these activities a bit further down in this article.

Keyshawn the Keymaker is a fictional podcast for kids that takes place in modern-day Minneapolis. Keyshawn is an 8-year-old on a quest to help someone in his community. In each episode adventure, listeners discover new types of careers and learn key career values. You can listen to it here, (as well as the rest of the fantastic podcasts in the PRX accelerator program I participated in): https://www.prx.org/ready-to-learn.

Here is a break-down of how I approached each these roles:

Music discovery and direction Before we could start creating, gathering and listening to tracks, we needed to metaphorically sit down and figure out what we wanted. The process was a bit like building the train tracks at the same time as building the train, since we had to figure out what music we needed, at the same time as we were writing the podcast.

We knew we wanted hip hop music to be the musical heart of the podcast. As we began analyzing different styles of hip hop, we realized we wanted to focus in on traditional, boom bap and more modern, trap. One thing that came up was that many of the beats we listened to for reference felt a little slow for a kids project, so we knew we would need to speed our beats up compared with standard tempos. I also realized pretty early on that this project would need great music for kids, but not necessarily kid’s music — a subtle, but big difference.

By the nature of our development process, I was functionally an embedded regular show producer, not just a music producer (not that there’d be anything wrong with that of course). This meant that I was reviewing scripts and helping guide the direction of our show. We went through a broad process of “I wonder” and “what if”. We kept everything on the table and we tried to create quick prototypes where we could decide what was working. We explored whether we wanted singing, rap, instrumental tracks or other songs. We ultimately decided on instrumental tracks for this pilot. We also made the choice not to include very much background music under the dialog, since we were concerned this would be too stimulating for the younger end of our demographic (4–8 year olds), and we really wanted to make sure that they were able to focus on the story.

The best way for us to streamline the process of finding the right music was to create a playlist of reference tracks, based on music that already exists. As we were trying create a playlist of music we thought would work, sometimes we found it helpful to note what music we thought definitely wouldn’t work, so parts of playlist came together by exclusion.

Music direction and supervision When we selected our beat maker, it was my job to create a written brief to figure out the music we needed in each spot. This activity is similar to when a composer has a spotting session with a director in a film. In this case, I created a document where I could confirm our music needs with the creative team and communicate those music needs to the beatmaker. I found myself referring back to this as we started selecting tracks. Once we generally had an idea of what we wanted, it was time to find a beat creator.

Casting Once we had our definition of what music we wanted, it was time to find the right band, musician, songwriter, composer, or in our case beatmaker. We chose one person to create the intro and transition beats. I could imagine using more than one person on a project this size, especially if there are multiple episodes and certainly multiple seasons.

From the outset, we were determined to find a beat creator from Minneapolis who shared the lived experiences with fictional Keyshawn. After a few starts and stops, we were introduced to Devron Mitchell, who grew up in Minneapolis, and currently lives in sunny Georgia. Devron was able to provide us with a small, original collection of music choices that I picked through, edited and mixed.

Composing I did contribute a little bit of composing in this project, adding sound elements to our intro, since we wanted some sound design from our key machine to be included rhythmically in our intro music. I built a musical sound design layer on top of a customized track that our beat maker created.

Mixing I used our reference tracks here, to help us define our overall sound. It’s important to pay attention to what you like about a track — sometimes just the sound of a reference track, the mix, is a crucial part of what is making the track sound good. Also, it was very helpful to have access to separate tracks, as I found myself muting some of the instruments channels. If you don’t mix the tracks yourself, at a minimum I would recommend making sure you have access to the stems of the tracks you’re working with so you can have maximum flexibility.

Music editing and revisions When we felt like we had the right music, we needed to make sure the tracks interacted with the story naturally; that all the entrances and exits sounded right. Each track needed to be edited for length. We were moving pretty quickly with changes and revisions to the dialog, so I made the music edits. Given some advance planning, some of the music editing could be achieved in pre-production by a composer or beatmaker if you ask for various edit lengths and clean endings.

In summary One of the biggest differences for me in this project compared to my work as a composer, was that I started with a wide, macro lens. When I’ve worked on a project as a composer, someone has usually already identified that I’m likely the right fit for the project. During this macro step, I was able to be more strategic since the planning happened early on, during the development of the project. This process was generally new to me, but it was a step that I enjoyed, and one that I hope to be able to participate in again.

Do you need a music supervisor or music producer? It really depends on how big a role music is playing in your podcast. If you’re feeling confident, and you have access to great music that you can obtain legally, I say go for it — place some music into your podcast and see if you like it! If you’re not sure about your confidence, and you’re on a small team, from what I’ve heard anecdotally, these roles will get filled by default by someone, often the audio engineer. It’s possible this person can do a great job with this. However, if there is a whole lot of work on their plate, as is often the case, it might be good to bring someone in, even for a short period of time to help you with music discovery, help you source what you’re looking for and to help you put a plan together as you move forward. It’s possible that it could save you time in the end, and very likely that it could improve the quality of your podcast.

Care to share? Do you have any experiences that you’d like to share as a music producer or music supervisor? Do you have an experience to share about working with one? Do you have a music producer or music supervisor question about your podcast? I’d love to hear from you!

Jerome Rossen is a composer and songwriter who focuses on kids media for apps, internet, podcasts and TV. Jerome is the music producer for the podcast Keyshawn the Keymaker. He has created a series of ABC songs for preschool kids in South Korea and, music and sound design for the math app Math Tango 2. Jerome creates the music for the Happy Tree Friends, a very funny (though very violent) cartoon for adults and mature kids, with a huge cult following. In addition, Jerome has placed his music in major TV shows like “The Bachelor” on ABC, MTV’s “The Challenge” and USA Network’s “Temptation Island”. He runs Freshmade Music, an independent audio studio. 

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I Stayed Home in 2020 and Met People From Twelve Countries


I’m an independent composer and songwriter. I focus on kids projects, for TV and the internet.

When the pandemic hit the US, it seemed apparent that the typical projects I work on would be placed on hold, and after a few weeks it turned out I was right. I was unsure where to turn for networking and new business opportunities. After a few months of new normal, I wearily signed up for my first virtual conference, not really sure what to expect. As a natural skeptic, it was easy to for me to make a list of the what I thought wouldn’t go well. Here’s what was going through my mind-

The downsides seemed obvious:

  • I wouldn’t be with actual humans (though of course that’s the point), where you meet, have small talk, read body language.
  • No chance for randomness. Sometimes the greatest parts of conferences are the random meetings, or casual conversations. Or running into folks I’ve met before, where then introduce me to someone new. In person, this all happens very organically. In a virtual world there would be no framework for this type of serendipity.

To be fair, I was hopeful that it would be time well spent. The plus sides seemed pretty clear:

  • Cost – travel, food and lodging = $0. (Of course it’s not lost on me that all the folks in the travel and related industries rely on folks like me to travel for their income. Reason #27 why I can’t wait to travel again.)
  • Time – no commute or travel time. I could hang out with my family while I wasn’t virtually attending the conference. I could also continue my regular work, which is kind of nice.

The parts I wasn’t sure about:

  • I didn’t know whether there would be a typical exchange of ideas or learning.
  • I didn’t know whether it would feel like an escape from my usual routine.

I attended that initial conference and it exceeded my expectations! I had some great one-on-one conversations and saw different insights into creative process, and I got to learn about some really fun IPs that have a lot of potential. This first conference went so well for me, that I signed up for two additional conferences with slightly different formats.

Over the course of 2020, I stayed home and I met with people from twelve different countries. I watched 15 kid’s animation pitches for new shows, and witnessed some great feedback by industry veterans. I screened a bunch of new cartoons that are currently being broadcast in regions around the world. I was inspired by so much amazing content.

Things I’m grateful for:

  • I got to meet people from all over the world in creative industries that were really nice.
  • In this dark time, folks who were strangers at the beginning of my zoom call were genuinely concerned about the health and welfare of my family.
  • I got to meet with inspiring, seriously creative, funny people from all over the world with seriously creative, funny ideas.
  • I got to learn about projects and meet people who share values that translate all over the world, like this one: Educating kids through diverse, creative content, with stories that come from a diversity of voices is necessary and possible in so many creative ways.

 No, 2020  hasn’t gone the way any of us had planned, and I fear that 2021 could get off to a rocky start. But I’m so glad that I was able to make the most of it, and to “travel” by meeting so many folks, with interesting voices and perspective from all over the world.

When we journey forward into the new normal, I look forward to a hybrid world that will include travel both IRL and virtual. I hope that by including virtual travel to conferences in the future, we will see that there are at least a few positive experiences that we can bring out of this unfortunate time. I look forward to seeing you, or “seeing” you in 2021!

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Work more efficiently with a composer: What is an audio brief, and why do you need one?

An audio brief is a road map, or recipe composers use that contains the logistical, technical, business and creative information necessary to begin creating music for a project. As a composer, I use audio briefs as a way to build consensus to make sure that everyone on the creative team agrees with all the details and the creative direction that the music is heading. The creative folks can be some combination of creator, director, writer, copywriter, producer, art director, or audio director depending on the project and industry. Usually if it’s a large group of people I’m meeting with, they have spoken and agreed on most if not all of these details. I prefer to go through each of these items, even if they seem clear to me, in case any of the details have changed.

Here’s the breakdown of the four parts I like to include in an audio brief:
• Logistical details include deadlines, track length and any required alternate versions. Many of the logistical details will be included in the business contract between the client and the composer, or in a less formal audio agreement. In most cases, I generate the audio brief once the contract or audio agreement is in place, so those details can be brought into the audio brief.

• Technical specifications can be pretty straight forward or complicated, specific to the project. They may include information like the bit rate, sample rate and audio file type, but can also include extensive audio requirements related to finalizing the track before delivery. It can get complicated pretty quickly in a video game project. Many details will be covered in the Game Design Document then incorporated and outlined in an Audio Master Document, which lists out information for all the sound assets in the game, including music, sound design and voice. No matter the complexity, getting these details ironed out early will ensure that the audio files can be easily synced and implemented upon delivery. This is especially helpful toward the end of projects when things are moving fast.

• The business details like the target market, broadcast medium (which may overlap with the technical specs) and any other research that might be helpful to take into consideration when exploring the direction of the music.

• The creative portion generally contains information related to genre, style, and mood. This step in the refining the audio brief usually requires some questions and probing. It There may be references to other audio tracks, or to artwork, which may be completed or in still in draft form. The initial brief I receive may start with something as simple as “upbeat, happy”. After a quick phone meeting with the creative team, I may amend the initial creative portion of the brief to “upbeat, happy – try ukulele, listen to the two reference tracks provided, light percussion but not too heavy, no glockenspiel, not too busy during first part of voice-over”. The second version is a lot more descriptive, right?

Most of my clients generally have a clear sense of what they want. In almost all the cases, they’ve worked on the project much longer than I have and have thought a lot about music options that they think will work. They also have a better understanding about any nuances and context, details that I will learn about if necessary as the project unfolds. My first job is to listen and consider their ideas. My second job is ask questions in order to refine the audio brief, and to make sure I can deliver the best music options possible. I also see it as my obligation to bring my years of experience to offer ideas that I think will work, asking questions like, “Have you thought of this other option?”. Since it can sometimes be difficult to figure out music just from discussing it, it’s often better to hear it. I find it helpful at the beginning of projects to write a few different ideas, a couple of short snippets that we can all examine, then figure out which one is working best and move forward.

During my audio brief meeting, I make sure to confirm all the items including the logistical and technical ones. Since projects often change, I want to make sure I have the latest updates. After I’ve confirmed all of these details over the phone, I will write up my notes into an email and send it to my clients to confirm. Once I get a confirmation from my client and I begin creating and producing music, I can move forward with the knowledge that the whole team is on board.

Creatives, what do you need from the audio brief? If you’re starting from scratch and you haven’t yet hired your composer, sketch out the details that you think your project needs and work with the composer you hire to fill in the remaining details. Also, don’t feel like you have to answer every question you have; in fact I find it can be helpful to know the list of questions or problems that my clients are trying to solve. Also remember, you don’t want to get stuck in process, you want to focus on the deliverable you’re going to receive. I find that it’s less important to my clients how I do my job of composing and producing, then whether I deliver what they’re looking for, when they’re looking for it. If they find it interesting to discuss audio production, I’m happy to explain my workflow and tools.

Composers, what do you need from an audio brief? Everything! If you’re looking through a brief that you didn’t create and anything looks unclear, or if there are acronyms you aren’t familiar with – ask! I would much rather firm up any details related to what my client wants before I start writing music, rather than deliver some music and have them point out something that isn’t consistent with the specs in the audio brief, or deliver something based on a false assumption that I made because I was too shy or embarrassed to ask a question. And as I’ve eluded to above, if the audio brief is incomplete or non-existent, I create it myself.

Audio briefs can be a helpful tool for communication. If used properly, they can be a foundation to a stable creative framework for a project and even to long lasting business relationship. I hope this explanation about audio briefs has been helpful. Do you have any questions? Are there details that you include in your workflow that I’ve missed? Please let me know!

Jerome Rossen is a composer, songwriter, producer and professional musician. For 18 years, Jerome has created music for advertising, apps, and kid’s video games. Jerome has placed his music in major TV shows like “The Bachelor” on ABC, MTV’s “The Challenge” and USA Network’s “Temptation Island”. Jerome also creates the music for the Happy Tree Friends, a very funny (though very violent) cartoon for adults and mature kids, with a huge cult following. He runs Freshmade Music, an independent audio studio. You can learn more at www.freshmademusic.com.

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The Right Audio – 9 Tips For Creating Targeted Kids Game Music and Audio

Creating and selecting music and audio for kids games has all the challenges of composing music for any game, film or TV show. Finding the right audio, and musical landscape can be a crucial component to whether the game is a success. For me, the ultimate test, after all the conversations and work, is whether kids keep the music on while they’re playing!

I have put together a handful of tips that I’ve picked up over the years that I can recommend if you need to figure out how to design, explain and/or write kids game music and audio. I’m writing this from my viewpoint as a composer and sound designer with the hope that it might help other game audio folks; and also writers, producers, game designers, audio directors, audio programmers, folks in marketing and PR, and any creative person involved in creating a kids games. My hope is that if you follow these guidelines, the music and audio in your game will greatly enhance the game, making it a critical part of the gameplay, so much so, that kids couldn’t imagine playing the game without your audio and music.

Here are my: 9 Tips for Creating Targeted Kids Game Music and Audio

  1. Figure out what you’re working on
    When I begin a project, it’s my job to learn as much as possible about what I’m working on, beginning with the intention of the creators. I’m interested in listening, reading, and looking at everything; the game design document, any artwork (finished or not), any levels (whether they’re playable yet or not) and any relevant analytics from the marketing folks about the target market, including whether the game is a sequel. I also try to gather any and all musical references that the design team has been thinking about. If you’re a composer, plan to ask for as much as your client can give you, and be prepared to look, listen and ask questions. If you’re on the developer side, be prepared to provide these materials to your curious composers and sound designers. The more open you are to the creative folks you work with, the more likely they are to be on target with their work. While there is a certain amount of mind-reading that happens with my clients, I prefer to be a translator – to gain inspiration from narrative, visuals and design elements that my client has provided – translating all of these materials into the right audio.
  2. Get buy-in about what you’re going to create
    Once I figure out what I’m going to work on, I compile an audio brief, a document that outlines all the information that I’ve collected (see #1), with clear directives about what I’m going to write, then I share it with my client. By sharing this information with my client, I can be clear with them about what I’m intending to write, and they can share the audio brief with members of their team, so they all know what to expect. Communication is so very important during the whole process (https://www.linkedin.com/pulse/how-speak-music-5-tips-communicating-composer-jerome-rossen/). Establishing an open line of communication with your creative team from the beginning is very important.
  3. Be clear like a laser
    When you’re in planning mode, creating or discussing an audio brief, clarity of genre and style will always be helpful, including specific genres, artists and tracks. If I have a client who tells me they want the music to be fun, I’m going to ask for more specific information. Do they mean something bright and cheery with ukulele and percussion? A mariachi band? A piano playing ragtime? You get the idea. These examples might all be fun in the right context, but none may fit what my client has in mind. If my intention is to be clear with genres, I will have a better chance to deliver music that will fit the game and that the client likes.
  4. Write up – Aim for a few years higher
    In my experience with my own kids and as a guest artist in the classroom (K-12), kids want to aspire beyond their age. They want to read about the lives of kids a few years older. They don’t like to feel babied. It’s the same with music written for them. For preschool games, kids don’t want the music to feel too young. For young elementary games K-2, the kids don’t want the games to feel too kiddie-like. And for 3rd-5th and tweens, for instance, if you’re game is reaching from a pop music genre, your best bet is probably to reach for current pop music as a model. When in doubt, add a bit more sophistication to the music and you’ll be on track.
  5. Try to narrow the target market
    Often game designers and marketing folks have an intention that a kids game will try to reach a really broad range of kids; some games are successful at this. When I approach a game where my client says they want to reach K-5, I really have to dig in and figure out whether the younger, K-2nd grade kids are playing the game differently than the 3rd-6th graders. If so, I have to make a decision with the game designers of which narrow group to write for. In this example, it would likely be best to write for the older group, the 3rd-5th grade audience, without alienating the younger kids. Also, I find an interesting thing happens – when I’m successful focusing on a narrow target market, the audio will often work well for wider audience as well.
  6. Don’t water down
    Kids can handle sophisticated music and audio, in fact they’re expecting it. Whether you like it or not, your game is competing with all other media out there. This includes movies and tv shows with huge audio budgets, that may contain full orchestras and high-end pop producers. No matter what you audio budget is, your game can have sophisticated, well designed music and audio if you have the right preparation and the right team from the beginning.
  7. Scary, minor and major
    If there are realistic events happening in-game, then it may be completely appropriate for them to sound realistic… but be careful, especially for the younger audiences, sometimes those sounds need to be tempered. For example, if there is a space explosion in a preschool game, it might be more effective for it to sound more fun than scary, with some synths added in for musical sound design. Be mindful about writing in minor keys. Believe it or not, only a small percentage of the music I’ve created for young kids games (K-2 and younger) includes music in minor keys. There is one game developer that tries it’s best to avoid using minor keys altogether! The only case I can remember using a minor key for this developer was in a game that helps kids identify emotions – I used a minor key for “scared” and “frustrated”, but not a handful of other emotions. In general, keep it major if you can for the young ones.
  8. Pay attention to the game design
    Keeping track of the basic game design principles of the game will help you figure out how complex your music should be, in any given level. How long will the player be on this level? How complex is this level? Is there any data from play-testing? As far as length of track, if it’s a really easy level, and the player won’t be there long, then it may not make sense to use a long, 1 minute looping track. On the other hand, if it’s really hard and the player will be there longer, it might make sense to provide more music so that the loop doesn’t get boring. As far as difficulty, make sure the music pairs properly with the complexity of the game. I prefer to use less complex music, when the game is more complex. For instance if you’re working on a really complicated puzzle, my caveman brain gets distracted if there’s too much other stimulation. Complex levels may be well served from minimal or no melody, and fast tempos. Remember, the music is here to serve and enhance the game experience, not the other way around.
  9. Use odd and vintage genres wisely
    I love odd genres, and I love mixing them. It’s OK to use all kinds of genres, but make sure you’re being mindful in the way you’re using them. I make sure I have a reason to use the genre I select – perhaps cuing off of the geography, landscape or shift in the narrative. Also, I think it’s great to throw a bone to the parents or caregivers now and then, as long as you’re aware that you might be including a genre that you know the kids may not understand. Remember the adults are often listening but not playing the game. Be mindful that a parent or adult might ask to turn the music down, or ask the kids to stop playing the game (G-d forbid!).

I hope these tips are helpful to you as you move forward creating music and audio for your kids game. I hope that they help you make your audio essential to your game. If you have any questions about any of the tips, please let me know – I’d love to discuss them with you!

Jerome Rossen is a composer, songwriter, producer and professional musician. For 18, Jerome has created music for advertising, apps, and kid’s video games. Jerome has created music for Originator Kids “Math Tango: Starbase”, Leapfrog and Spinmaster. Jerome has placed his music in major TV shows like “The Bachelor” on ABC and MTV’s “The Challenge”. Jerome also creates the music for the Happy Tree Friends, a very funny (though very violent) cartoon for adults and mature kids, with a huge cult following. He runs Freshmade Music, an independent audio studio.

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How To Speak Music – 5 Tips For Communicating With A Composer

Speak Music

Pairing music with video is a really exciting process, whether you’re working in animation, advertising, film, television or video games. This step in production usually means that you’re nearing the completion of your project. Perhaps congratulations are in order? Finding the right music for your project is a little tricky, but if you keep a few things in mind and you add a dose of patience, hopefully you’ll get the results you’re looking for.

As a composer and music producer, I interface with a wide variety of folks from a variety of backgrounds who make up my client base. They often have exponentially more experience than I do in art, design, writing and business. They may be a super-talented art director, editor, visionary writer, producer or other type of content creator. No matter what their title is, the job of finding music often falls into the lap of the most creative member or members on the team. In almost every case, everyone on the team has a strong passion for music, and they know from the start exactly what they think will work. Sometimes the hardest part for the team is trying to communicate the musical vision to the person who will be bringing it into fruition. That’s where I come in. 

In this article, I am addressing the process of working with a composer to create custom music. I recognize that working with a music library is also a viable option for many creatives – that is a somewhat different process.

From the beginning of the project, it’s my job to open a clear line of communication about what exactly we all want for the music, to determine who the final decision makers are, and to figure out a way to keep things on track.

In the beginning, it’s often helpful to get very granular details by sharing existing examples and quick, messy custom prototypes to really hone in on the right direction. Many projects move fast, and sometimes projects change in the middle, so getting that communication going is important for any tweaks or adjustments that we decide on to get the music working well, as fast as possible.

Once in awhile during the review process, I’ll get feedback such as “It’s not working” or “I don’t like it.” That’s clearly not enough feedback. If that’s all I get, I have to do my best to draw my client out more. I don’t need them to tell me their hopes, fears and dreams, but I do need to figure out what music is going to work, so I don’t throw out the good parts and then I need to figure out what isn’t working with the music, so I can fix it.

Very often my job is to translate emotional terms, narrative structure and thematic elements into music.

Here are 5 recommendations for communicating with a composer:

  1. Use descriptive language. It’s helpful to use emotional words, and try to tie them in to thematic elements in your project. It’s great to use the language that originally inspired you in the creation of your masterpiece. These ideas can be foundational for the music as well. For instance, if you need the music to build right after the sunrise, or if you need the music to pause when the main character looks away because she’s remembering how much she misses her first pet Sparkles… those are the elements to concentrate on and to communicate about. Sometimes you need the music to track a character’s mood, or you need the music to play against what’s happening on the screen.
  2. Be careful of using musical terms. Musical terms generally have very precise meanings, and if not used correctly, they can be confusing to your composer and muddy up your intention and in turn, your music track. I’ve been in situations where a creative person recommends that they want something raised up an octave, but they really mean just a higher key – or that they want something slower, but they actually mean in a minor key. No worries. It’s my job to translate, so if you’re not sure, it’s OK to say that you’re not sure, we’ll figure it out together.
  3. Try to have specific existing music examples. If my client doesn’t provide examples at the beginning of the project, I frequently put together a quick playlist that we review together. These examples allow us to begin a conversation about genre, instrumentation, tempo, and feel and anything else that might be relevant to the project – and since we’re listening to the same examples, we can generally get the majority of the information that I need to create an audio brief it one doesn’t already exist, and can begin composing. This process is also a great way to begin our clear line of communication.
  4. Be prepared to provide data. No matter what you’re working on, you’ve already worked on it longer than the composer you’re bringing in. You likely have some valuable insights to convey about audience, target markets and your competition or industry. If it’s a commercial, you might have some analytics that you’ve rolled into your process already. If you’re working on TV show or film, you might either have some focus group data or at least some anecdotal ideas that you are drawing from. Your composer doesn’t necessarily need raw data, but giving them a brief summary of this information can be a key insight into why you’re making some of the choices you’re making about music. This data may also inform some of the decisions the composer makes in one direction or another.
  5. Be open. As in any creative process, you may ask for something and realize that once it’s compiled, you don’t like it. No worries! Pairing music to picture is an iterative process. I find it helpful to figure out what is and isn’t working and to move quickly forward from that information. It can be helpful in these situations to focus on the outcome, not necessarily the process. If you’re focusing on narrative, subject matter and how you want a scene to be conveyed, chances are that you’re going to be in the ballpark of finding the right music. And sometimes even small tweaks can make all the difference between what isn’t working too well, and what’s totally working.

Pairing music with video is an exciting process. If you have the chance to collaborate with a composer who is a willing partner and good listener, then there is a high likelihood that the composer will take great care with your project – the same amount of great care that you have taken to get it this far.

I received feedback from a longtime client a few years ago. Every week, when I sent over my full orchestrations and the final mixes of my music synced to picture to the audio director, this was usually cause for a small crowd of people who worked on this project to gather around the audio director’s mixing console and watch it, some watching the whole project for the first time. It was only then, and only once the music was synced that the project felt finished. That, to me, is how I know when we have the right music.

Good luck, and let me know how your experience with of communicating with a composer goes!

Jerome Rossen is a composer, songwriter, producer and professional musician. For 18, Jerome has created music for advertising, apps, and kid’s video games. Jerome has placed his music in major TV shows like “The Bachelor” on ABC  and MTV’s “The Challenge”. Jerome also creates the music for the Happy Tree Friends, a very funny (though very violent) cartoon for adults and mature kids, with a huge cult following. He runs Freshmade Music, an independent audio studio. You can learn more at www.freshmademusic.com.

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MathTango – Starbase: Music and Sound Design

I’ve really had fun creating the music and sound design for the update of MathTango Starbase. It’s been great working with audio producer, Richard Warp from Intonic Studios, and the team from Originator. It’s a featured app in the Apple App Store. If you want to brush up on your multiplication, or if you know a child who does, check it out!

MathTango by Originator Inc.

https://itunes.apple.com/us/app/mathtango/id1234698308?mt=8