Welcome back to another Sonic Story! It’s time to hit play on our chat with Jonathon Deering, where he unwraps the rhythms and riffs of being a trailer composer.
Sonic Stories with Jonathon Deering
How did you get into composing?
My family is very musical. My dad is a concert pianist and my mum has worked most of my life in the music department of BBC. My musical journey wasn’t straightforward, though. I never really wanted to pursue music, almost as an act of rebellion. I initially went down the performing route and attended a couple of renowned schools to study musical theatre and then acting. It was only about six years ago that I realized I went to the cinema more interested in the film’s music and composer than in the acting!
What is your creative process like?
Usually, the whole process revolves around mild panic—the good kind, maybe. Especially if it’s for a custom brief or composed specifically for a film. I have the attention span of a headless chicken, so I’ve had to distinguish between distracting panic and the good, helpful panic that helps me get as many ideas down as quickly as possible. The beginning is always the hardest, but what’s most interesting for me is finding my way into a project, especially with such tight deadlines. I like to enter into something through a particular sound, whether that be a signature sound that will be featured throughout, a specific instrument, or the way that instrument is played.
What is your specialty/what are you known for when it comes to your compositions with SAS?
Maybe it’s the wondrous, expansive style of sound that I love writing for trailers and commercials. I think it’s because it is so polar opposite to the grittier side of things I’m known for in the film-scoring world. I like to think I can specialize in a majority of styles and I think my trailer placements vouch for that. I’ve always been obsessed with different genres of music, which is the main reason I wanted to become a composer in the first place. I never wanted to be doing the same thing all the time. The same goes for the specific sector of music too. I’m slowly starting to work with music artists and songs. The difference between working on film scores, trailers, and artists’ song releases really keeps me creative and prevents me from falling into a routine or churning out the same things.
What Score a Score placement of yours are you most proud of?
I landed a really great TV spot for The Flash not too long ago. The music they used was never written with that genre in mind. It just goes to show that you never know where things will end up.
What lesson took you the longest to learn in your career?
Celebrating your wins with yourself is important. The world of composing for media is so fast-paced that sometimes you don’t have enough time to sit down and pat yourself on the back, or you’re so stressed about the next tight deadline that you never get the chance to close the chapter of the previous work. A friend told me the other day, “You are the version of yourself you wanted to be five years ago.” It’s important to see your progression and take the time to at least think, “Well done for doing/creating that! That’s great.” Then the chapter is closed, and you can look forward to what you’re working on next. This is also so important to me because I was brought up by parents who never really believed in pat-on-the-backs, and I feel like I’m missing a good 20+ years of it!
If you could talk to your younger self when you first started composing, what would you say?
“Hurry up and get into trailer music sooner. Maybe you’d own a house in London by now…”
What is your proudest accomplishment as a composer?
Being able to do this full-time. I’m also apparently the youngest composer to have ever scored a Paramount Pictures feature film! I was 23. That’s quite cool but ultimately meaningless.
If your life were a movie, what genre would it be and who would compose its soundtrack?
Genre: Tragicomedy Composer: John Powell
Cue the Outro!
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Today’s Sonic Story is pulling back the curtain on Score a Score’s very own Roland Bingaman! Prepare yourself for an illuminating discussion where Roland shares his perspective on the evolving world of trailer and ad music.
What is your creative process like?
My go-to for anything is sitting at the piano and coming up with a melody. Even for my brooding slow-burn trailer tracks, I tend to find the melody first and foremost. The rest of the track then gets built around that idea. It’s a constant struggle to put the right puzzle pieces together. And then, sometimes, the unpredictable happens and I find a super weird sound that inspires the whole song.
What is your specialty/what are you known for when it comes to your compositions with SAS?
With SAS, I assume most clients would know me for my trailer score work. I have had some exciting placements with custom ad work as well, but I’d say trailers are my “thing.” I hope that the thing that connects my music to agencies and supervisors is the melody; the hook that gets stuck in their heads. A good melody transcends genres, so when you apply that to trailers, you get to cross over into lots of sounds and styles.
Are there any new trends or techniques that you are loving right now?
I do love a classic A24 trailer that’s almost nothing but sounds and subtle low synths and textures. Although I can’t pull those off because of the lack of melody in them, I still enjoy them. When I attempt those types of tracks 100% of the time it ends up with a massive full-blown melodic act 2 and act 3.
What is your favorite piece of gear in your studio, and what is your latest gear purchase?
I’m not sure I could choose a favorite piece of gear to be honest. I’m quite thankful for the tools that I have at my disposal. If anything my computer is probably my favorite because I love working “inside the box.” I don’t NEED any of the external gear that I own, but it’s great to mix things up occasionally. My latest gear purchase is the Soyuz Deluxe pre-amp and my lovely Ear Trumpet Labs Edwina mic. The combo of those two has been THE sound of my folk artist project.
How did you discover SAS?
I discovered SAS in 2018 through composer Daniel Ciurlizza. I had decided that year that I wanted to pursue being a composer full-time. Eventually, I reached out to many composers asking how they started. Daniel was the only composer who responded and shared with me how excellent the folks of SAS were and have been to his career. I immediately placed them at the top of my “I hope to work with” list. He gave me a lot of feedback until my music was solid enough to eventually pitch to them.
What are your top three spots/placements that you did for Score a Score that you are most proud of?
I think my top three placements would be the See Season 2 trailer, Charlie Brown’s ‘To Mom (and Dad) With Love Mother’s Day special trailer on Apple +, and my very first placement for SAS, which was a commercial for ServiceNow. It was a charming Christmas ad that I put a ton of love and hope into and it ended up being my first big placement.
Your work with Score a Score covers both music for ads and music for trailers. How does your approach differ when composing music for advertisements as opposed to trailers?
I feel very fortunate to be able to switch back and forth between trailers and ads with SAS. I thrive off of the short-form variety of this job. One day I can be making a hip-hop trap beat for a hip Gen Z ad, and the next day I’m grunting into my mic creating some dark Viking fantasy trailer. Ads, to me, are a fun way to keep up with my pop production chops. I enjoy the upbeat cues but also the more emotional cinematic hybrid cues. The nice thing about ads is that typically you’re scoring to a locked picture. Whatever the genre is, it’s always nice to write music to go hand in hand with moving images. Trailer music, on the other hand, is a great sandbox of experimentation. While the formula remains the same, the sounds you can fit inside are always changing. I love honing into a darker/cinematic soundscape when creating trailers. I also love watching trailers so that makes it even more fun. At the end of the day, either for ads or trailers, the hook is still king. When someone is finished watching, can they leave humming the melody line or your cue? I’m always chasing down that melody.
What are some of your favorite TV jingles?
Two theme songs that literally shaped my composing interests have always been Batman The Animated Series as well as Gargoyles. Two cartoon shows that I obsessed over as a young kid. Hearing those dark-building theme songs with powerful motifs really left an impact on me. I highly recommend looking up both of those themes and being blown away that these were written for kid’s cartoons in the ’90s. They had no business being that amazing.
What have you learned about yourself as a composer since creating music with Score a Score?
I think the biggest thing that I’ve learned as a composer with SAS is how quickly you can actually write something. If left to my own devices it would take me weeks to write music. When you have a 48-hour deadline to turn in a finished piece of music, you can really dig your heels in and make it happen. That process has pushed me in my growth and speed.
What’s the first piece of music you ever composed, and how do you feel about it now?
One of the first pieces of score music that I remember writing was about my childhood pet cat named Rigatoni. I had this idea to make a cartoon about that cat as he went on various quests. The song and subsequent show was called The Adventures Of Rigatoni. The melody holds up, but that’s about it.
What lesson took you the longest to learn in your career?
Oof… Restraint! I’m still learning this lesson when it comes to trailer music. My main instinct has always been to make something sound epic, you have to use every instrument at your disposal. That usually results in a clumpy, muddy, bland mess (which many of the early trailer tracks were). As I listened carefully to my favorite trailer tracks from other SAS composers (Daniel Ciurlizza, Dan Rosen, Steve Sopchak, Joni Fuller, etc.), the thing I picked up on was their ability to practice musical restraint. Each moment and section has a purpose to fulfill while also needing to leave space. That’s a lesson I’m still challenging myself to put into practice.
If you could talk to your younger self when you first started composing, what would you say?
I would eagerly tell my younger self to stop trying to tour in a pop punk band and start writing library music and trailer music. Pop punk was just a phase so stop it. Stop it right now.
When was the last time you surprised yourself both personally and professionally?
Professionally speaking, anytime my music lands in anything I feel the same excitement that I felt with my first placement. I don’t think that feeling will ever get old. It’s always a wonderfully thrilling surprise when I see that “Placement Locked” email come through. Musically, I feel surprised anytime I finish a trailer track and I don’t think it’s terrible.
If your life were a movie, what genre would it be and who would compose its soundtrack?
So my life often feels like a Paddington The Bear movie or like Mr. Magorium’s Wonder Emporium. By that I mean the happy, whimsical parts of life are often just that. Whimsical and happy. But those movies dive into some really heartbreaking emotions too and life, while beautiful, gets rather grim. The struggles in life have purpose too though and build us up. I would love for Alexandre Desplat to score my life.
That’s a Wrap!
Our sonic story with Roland has come to an end but an encore is in store! Stay in touch with us for all SAS updates by subscribing to our newsletters. Chat soon!
The insight and inspiration don’t stop as we are back with another Sonic Story! We had the pleasure of catching up with the very talented, Felix Manzi. So sit back, grab a paper and pencil (or the notes app from your iPhone), and get ready to feel inspired.
Sonic Stories with Felix Manzi
What is your creative process like?
If I’m working on a custom/specific project, I usually start by reviewing the brief, highlighting and making note of any keywords, moods, moments, styles, etc. Then, the real fun begins! Typically, I start with some kind of chord progression or rhythmic pattern to build on top of. If I have more time, I’ll even start with a full piano sketch, and orchestrate it. Once the composition is done, I finish up with any more mixing, master it, and send it off!
What would you consider to be your specialty?
I’d like to think that my specialty is that I’m a jack of all trades. I really love to study and immerse myself in all different styles of music to really get into the intricacies of what makes each genre special and unique.
Are there any new trends or techniques that you are loving right now?
I’ve been hearing a lot of unique sounds in trailers these days. For instance, there are ear-pleasing, clicky, percussive, vocal, ASMR types of sounds. I really love that because it allows for more inventiveness, and the ability to really think outside the box.
What is your favorite piece of gear in your studio and what is your latest gear purchase?
Favorite: Would probably be my 1960s Gretsch Round Badge drumset. They just sound so beautiful!
Latest Purchase: I recently purchased a portable recorder. I’ve been having a blast recording different sounds, and working on more unique sound designs.
How did you discover SAS?
I’m pretty sure I discovered SAS through a Google search. I got a sense that they really cared about the composer and not just the music. I was right!
What are your top three spots/placements that you did for Score a Score that you are most proud of?
Google Cloud – They wanted a very drumset-centric score, so as a drummer, I loved recording live drums for this one!
Hocus Pocus 2 – As a ’90s kid growing up with the first movie, this was really special to be a part of.
Gone In The Night – My very first real, official trailer placement .
Your work with Score a Score covers both music for ads and music for trailers. How does your approach differ when composing music for advertisements as opposed to trailers?
I would say that because of the nature of trailers, I approach trailer music in a more structured way. I often start with the biggest part, the final act, and sort of work backward (or at least have an idea for the final act). When it comes to advertisements, it’s much more of a toss-up with how I tackle the track.
What have you learned about yourself as a composer since creating ad and trailer music with Score a Score?
I’ve learned that I’m capable of more than I think. I’ve had some pretty specific, and odd musical directions for projects, where I thought, “There’s no way I’m gonna be able to make this work!” But I always have. If there’s a will, there’s a way!
What are some of your favorite TV jingles?
I love the classics:
Folgers “The best part of waking up…”
Mentos “The Freshmaker”
Bounty “The quilted quicker picker-upper”
Toys R Us “I don’t wanna grow up…”
ABC bumpers “After these messages…”
And I don’t know if this counts, but I looooove classic sitcom themes, especially from the ’70s through the ’90s.
What’s the first piece of music you ever composed, and how do you feel about it now?
The first real thing I composed, and finished, was a mockup trailer piece for my music tech class, during my freshman year of college. It was over a trailer of The Incredible Hulk, and listening back, it’s so outdated! I like to keep it as a reminder of where I started vs. where I am now.
What lesson took you the longest to learn in your career?
Patience…in everything!! Career aspirations, skill and production growth, the creative process, and even the business stuff. It took a while for me to stop obsessing over achieving everything fast, and to just enjoy the journey/process as it happens. This business really is a marathon, not a sprint.
If you could talk to your younger self when you first started composing, what would you say?
I would definitely tell myself to just jump in, and get my music out there! I waited for the “perfect” time to start putting my music out there, but there really is no perfect time.
When was the last time you surprised yourself both personally and professionally?
Personally: In 2020, I was diagnosed with Hodgkins Lymphoma and had to go through chemotherapy. I went into it with a calm, almost zen-like, “accept what you cannot change” mindset, and I think that helped, tremendously. I was surprised I was able to keep that mindset throughout.
Professionally: I recently did a trailer album focused on bespoke sound design. I’m somewhat new to creating my own custom sounds, so I was surprised that I pulled it off, and how much I enjoyed working on it.
If your life were a movie, what genre would it be and who would compose its soundtrack?
Definitely a comedy composed by Randy Newman.
That’s a Wrap!
As the curtain falls on our inspiring chat with Felix, remember that every finale is just the prelude to another masterpiece. Stay tuned and keep an ear out on our Instagram, because our line-up of empowering interviews with our SAS composers is far from over!
Welcome to our first sonic story of 2024! This round, we’re tuning in with Jeremy Bullock a.k.a JNUARY, a familiar name to those who follow the pulse of trailer and ad music. Jeremy, a pivotal part of our symphony of composers, brings life to visuals with his auditory artistry. Today, we strip back the layers of his compositions to discover what makes his music so memorable.
Sonic Stories with Jeremy Bullock a.k.a. JNUARY
Can you tell us the origin story of your artist name, JNUARY?
The name JNUARY came more out of necessity than anything. I started making music that was more geared towards media and wanted to create an alias that wasn’t my actual name. For whatever reason, usually in spam emails or the occasional coffee shop order, my first name (Jeremy) would sometimes get mistaken for January so I decided to run with that.
What is your creative process like?
At this point, I’ve been working as a full-time musician for over a decade, so I structure my time very much like a regular job. I have a studio behind my house that gives me just enough separation from my daily space to feel like a dedicated work environment, and I’m out there Monday-Friday from 10-5. However, as much work as I’ve done over the years to add structure and consistency to my daily routine, the beautiful thing about the creative process in general is that a lot of times I really don’t know what’s going to come out that day. Allowing myself to be open to that inspiration is usually when I find myself most productive.
What is your specialty/what are you known for when it comes to your compositions with Score a Score?
One of my favorite things about SAS is that they offer me so many varying opportunities to create. Every project can be a completely different genre or style. I think my biggest strength is being able to work in those different spaces; it keeps things interesting, and I don’t feel particularly tied to any one ‘lane.’
Are there any new trends or techniques that you are loving right now?
One trend in trailer music that I’ve seen recently is that composers are straying away from some of the more stereotypical trailer styles. Not everything has to feel like a Marvel movie. Sometimes using something unexpected is a great way to make a trailer stand out.
What is your favorite piece of gear in your studio and what is your latest gear purchase?
My favorite piece of gear will always be my upright piano. I have a Yamaha UX that I love and it sounds beautiful. I’m not the best pianist in the world, but even when I’m just working out ideas on it, it’s always inspiring. My latest gear purchase is a new 4-track tape machine. I had an MKII for a long time that started acting up so I got a 414 from Goodwill. I didn’t grow up with a 4-track and I actually purchased my first one after years of working in a DAW, but the limitations of 4-track recording taught me so many things that I use in my DAW recordings now. I also love sending synths or drums out to it and importing it back for tape saturation.
How did you discover Score a Score?
I discovered Score a Score in 2016 through my wife who was actually working for SAS at the time. I had just moved to LA to start composing full-time and met her at a music industry party and she suggested that I try out working with them, which I did. I have been with SAS ever since and have seen them quadruple in size since then.
What are your top three spots/placements that you did for Score a Score that you are most proud of?
The Black Widow trailer is probably my most notable placement to date. I also did a pretty cool custom campaign for Lexus a couple of years back. Although not an ad placement, I scored the film I Love My Dad and SAS supervised it, which went on to win the Grand Jury at SXSW last year. I’m pretty proud of that one.
What have you learned about yourself as a composer since creating trailer music with Score a Score?
Trailer music was something I wasn’t at all familiar with before working with SAS, so my first few years of making trailer music were just figuring out what it was. I spent a lot of time trying to do the trailer thing really well, learning the structure, figuring out all the sounds, etc. Now that I’ve been doing it for a while, I’ve realized that that’s not always the best approach for trailer writing. Usually, editors are looking for something unique and unexpected. So now, when I’m writing music for trailers, I’m trying to tap into what feels most natural and authentic to me, and hope that the music speaks for itself that way.
Your work with Score a Score covers both music for ads and music for trailers. How does your approach differ when composing music for advertisements as opposed to trailers?
The big difference is that when I’m writing music for ads, I’m usually writing to picture, so for me, it’s a lot like working on a film. I spend a lot of time trying to understand the emotional intention and identify the music’s role in the spot. With trailers, I’m very rarely working to picture initially. So a lot of it is tapping into a unique creative direction or creating interesting sound design that feels unique in such a saturated market.
What’s the first piece of music you ever composed, and how do you feel about it now?
I was in a band in middle school called Pico vs. Island Trees, and we wrote and recorded our first song called “Broken” in 7th grade. I’ve made a lot of questionable music over my career, but whenever I listen back to that song, I’m able to look past all its flaws and appreciate it for what it is.
If you could talk to your younger self when you first started composing, what would you say?
To lose any expectations you have for your career in music and be open to wherever it takes you.
When was the last time you surprised yourself both personally and professionally?
I became a father last November which has brought a lot of wonderful changes both personally and professionally. Being able to adapt to the challenge of being a dad has been the most challenging and rewarding experience of my life so far.
Cue the Outro!
Like a good melody that gets stuck in your head, Jeremy’s insights linger long after this interview. We have tons of Sonic Stories in the works this year so stay tuned by subscribing to our newsletters or by following us on Instagram.
We’re turning up the volume with another installment of Sonic Stories! Tune in for an invigorating conversation where the one-and-only Dan Rosen gives us a unique look into the ins and outs of composing music for trailers and advertisements.
Sonic Stories With Dan Rosen
What is your creative process like?
It depends on the project. Given that I’ve been stuck in renovation hell for three years, I’ll use a construction metaphor. Think of it like building a house: there’s the structure, which includes the beams, joists, and framing (equivalent to the basic structure of the piece, including melody and progressions). Then there’s the interior work, such as walls and appliances (interesting sound design, rhythms, harmonies, etc.). Finally, there are all the finishing touches like painting and tiling to make it look like a complete house (equivalent to tightening everything up, mixing, and mastering).
The most efficient approach would be to complete the structure of the piece first and then go back to refine and add details before finishing with mixing and mastering, although this doesn’t always happen! What usually occurs, though, is that I’ll start building the first floor and then think, ‘Oh, this would be a good spot for a bathroom! Ooh, this wallpaper would be nice. Actually, the kitchen should go here. Oh, that gives me an idea for upstairs!’ Then I end up with a finished first floor and a third floor suspended in mid-air, and I have to figure out how to connect the two. Additionally, sometimes I’ll create some cool sound design, get inspired, and keep adding elements until it becomes a finished cue.
What are you known for when it comes to your compositions with SAS?
I don’t know what I’m “known for,” per se, but the stuff of mine that gets licensed the most broadly falls into two categories: A big epic sci-fi trailer with a softer/whimsical edge and pulsing string-based ad music. In the more nitty-gritty specifics, if you get a Dan Rosen track there’s a high likelihood of bendy synths, strings, and sparkly arpeggios. I try to avoid piano pings but sometimes they’re a necessary evil.
Are there any new trends or techniques that you are loving right now?
This gets me into trouble but I think, definitionally, I don’t really like trends. I spend a larger portion of my waking hours than the average person writing trailer music and watching trailers. As soon as something becomes ubiquitous enough to be called a trend I’m already bored with it. That’s not to knock the trendy things. They work! I just crave the unexpected and I can’t write the same thing over and over. I used to work at a guitar store and eventually saw so many guitars per day that I only gravitated to weird one-offs. A sunburst Strat is a classic for a reason, but I’d rather have a heavy relic shell pink over shoreline gold Tele with P90s. I love any trailer that has an atypical structure or sound. If the music doesn’t follow the typical formula of a sparse first act, a building second act, and an epic third act, or if it doesn’t involve an epic cover or overlay of a preexisting pop/rock/rap track, I am fully on board and inspired. For example, the teasers for The Killer and Ferrari do very cool and unexpected things with their music and structure while remaining effective, and I’m really into those.
How did you discover SAS?
I was watching the first season of Chef’s Table and saw they were the music supervisors. At the time, I was primarily focused on documentary scoring, so I thought it might be a good fit. I sent in some samples, got accepted, and now, here we are, 8 (?!) years later.
What are your top three spots that you did for Score a Score that you are most proud of?
The FYC trailer for Nope was a definite highlight. I love Jordan Peele and it’s one of the rare trailers I’ve done where the whole spot start to finish was my cue, basically unedited. Also, it was nominated for a Golden Trailer, which is neat.
Avengers: Endgame was only a 15-second TV spot, but when people ask “Where might I have seen your work?” I say this and they go “Oh I’ve heard of that!” I was giving a talk at my old high school about careers in music, and the students weren’t paying much attention until the teacher asked, ‘Can you name some things they might have seen?’ As I listed my projects, their interest suddenly peaked when I mentioned this one.
I’m very proud of Devotion. It’s one of the rare movies where I ended up doing the music for almost the entire theatrical campaign. It started with a custom total re-work of one of my tracks for the teaser, which finished. Then they used a completely different track of mine for trailer one, which was also customized, and finished. They then re-cut it themselves for the final trailer and some TV spots. It’s just so rare to 1) have two custom spots finish that close to each other and 2) have multiple different tracks in the same campaign; so I’m taking that one as a big win.
What have you learned about yourself as a composer since creating music with Score a Score?
I don’t like to repeat myself musically, which is a problem since most of this business is based on finding something that works and continuing to do that forever. So, I’ve definitely had to learn how to sublimate my ego a bit and find interesting ways to do the same things, but differently.
What’s the first piece of music you ever composed, and how do you feel about it now?
It’s not the first piece of music I composed, but I think it’s the first piece of music I recorded. It was a project for my electronic music class in college years ago. It’s very different from what I write currently and is basically a weird ripoff of Ratatat. However, there are some moments of interest, compositionally. I didn’t know the first thing about actual recording or mixing, so, from a production and mix standpoint, the whole thing sounds quite rough.
What lesson took you the longest to learn in your career?
How to organize. I am not, by nature, an organized person, but I eventually learned the hard way that I needed to be. The nature of this type of composing is that clients will need customizations on super quick timelines, often for tracks that were written over 2-3 years ago. So you need to be able to pull it up, know where the instruments are, what your plugin settings are, be able to recall any outboard gear, and deliver everything quickly with stems. A couple of years ago, I made a template for both writing and mixing. It took almost two weeks off and on to do, but it has saved me so much time in both the writing and recall stages. Every time I bring up an older track pre-template I cringe at how hard I made it for myself.
If you could talk to your younger self when you first started composing, what would you say?
Just write. It doesn’t matter if you don’t think people will listen or like it or if it doesn’t have a “home.” If you have an idea, put it down. You’ll never know when it’ll be useful or inspire you later.
When was the last time you surprised yourself both personally and professionally?
I have a 2 and 4-year-old and I’m genuinely shocked at how I’m still able to function at all on such little sleep, let alone produce nothing but bangers.*
*citation needed LOL
If your life were a movie, what genre would it be and who would compose its soundtrack?
I wish it was something cool, but it’s probably one of those movies where a male comedian wants to prove he has dramatic chops so he grows a big beard and has a sad face even though his life is objectively pretty good. Ideally, a soundtrack by Alexandre Desplat or Nicholas Britell, but we can’t afford them.
Cue the Outro!
As the final chord fades into silence, we extend a heartfelt ‘thank you’ to Dan Rosen once more. You can stay in the loop on his latest and greatest work by following him on Instagram. Until next time!
