Stuart Moore is a composer, producer, and musician, originally from the UK and now residing in Sacramento, California. He has been writing music for TV, film, commercials, and various other media for the past 12 years and also performs live regularly when there are no pandemics happening. He has a passion for many types of music but is particularly drawn to soul, jazz, and funk in its many forms, from small ensembles to the great movie scores of the ’60s and ’70s. His music has been used in a number of advertising campaigns, most notably Volkswagen, Sprint, Dove, Jim Beam, Ford, and Miller Lite as well as over 500 TV shows and a number of independent films.

When did the journey start for you?

I started playing keyboards in my early teens. At the time I wanted to be a house music producer but as I discovered a passion for other styles of music, my tastes and ambitions changed. I still wouldn’t mind writing a club classic though if the opportunity arose.

Who are some composers/artists you pull inspiration from?

I became a huge fan of Stevie Wonder in my teen years. His rhythms, harmonies, and lyrics never fail to inspire. Prince is also a hero of mine. I can’t imagine how he ever found the time to write that much music and learn all those instruments.

What’s the strangest method you’ve used to get the perfect sound?

I’d say the only times I’ve used strange methods, I’ve got anything but the perfect sound. Before we had access to the amazing technology we have today and when I didn’t really know any other musicians, I used to record myself hitting random objects to make drum sounds. It usually ended up sounding awful though.

What do you do to decompress after a long day in front of the monitors?

I have dinner with my wife and daughter and then watch TV like most people do.

Which instrument(s) do you have the most fun playing?

The only instrument I ever stuck with was the keyboard. I tried various others including trumpet, saxophone, guitar, and harmonica but found the keyboards to be the least painful to play.

What was your latest gear purchase?

Most of my purchases these days are in software form. When I start gigging again, I’m going to buy a keytar. Life’s too short not to.

What’s your favorite piece of gear in your studio?

A MiniMoog model D. I don’t use it because it’s a pain in the a** to use but at least it looks cool.

Is there a piece of music you’re most proud of?

I have several I’m proud of. One in particular was a fairly simple piece for piano and strings. A singer from the UK named Nathan Grisdale added vocals to it and really transformed it into something magical. The track is titled “Teenage Days.”

Other than your studio, where does inspiration most often strike? (or rather “Where is the second most common place you come up with ideas?”)

Usually when I’m out walking my dog is a good time to think.

What are two things you’re most proud of? One musical/professional, one personal. No humility allowed.

I got to play some shows on keyboards with the Delfonics a couple of years ago. Being such a fan of classic soul, I was proud to share the stage with such a great vocal group. In my personal life, I’d have to say my daughter. She’s a teenager and I think she still likes me, so that’s quite an achievement.

What’s your favorite score of all time?

That’s a really tough one. I think I’d have to say Bernard Herrmann’s score for Taxi Driver.

Who is your favorite composer and why?

I’d have to say Lalo Schifrin. It doesn’t get much cooler than the theme from Bullitt.

Who is your “guilty pleasure” artist?

I feel like the older I get almost everything I listen to is a guilty pleasure, lol. I’m a sucker for some Neil Sedaka every now and again. Especially the song “Laughter In The Rain.”

What’s the oddest job you’ve ever had?

I briefly worked for a company that sold cars online. 100% of the calls I received were from customers whose cars had broken down soon after they’d purchased them, sometimes within minutes or they never even received the car. Soul destroying and please don’t buy a car without seeing it and test-driving it first.

If you were stranded on a desert island with one album on your Walkman that somehow never ran out of power, what would it be?

Do greatest hits albums count? Either way, it has to be one of Stevie Wonders. Probably Songs In The Key Of Life as it’s a double album and has such a great variety of songs.

What is the best advice you’ve been given?

Don’t worry about the chords, just play something.

“Uniting people who on the surface may seem to have little in common” – Drum! Mag. Such is the case with Los Angeles-based drummer/percussionist, Nicole Grant, better known to friends and fans alike as, Nikki G. With her versatile musical background, performing in everything from symphonies to punk bands, she has built and manages to maintain a musical and spiritual bond beyond measure. With her unique abilities, not only as a drummer, but as a multi-instrumentalist, performer, producer, and composer it’s no wonder this independent musician’s versatile side of life has opened ears and eyes everywhere.

Top-performing credits: Street Drum Corps, Lindsey Haun, Katy Perry, and Thirty Seconds To Mars. Top composing credits: Starz, Twitter, Hotels.com, Facebook, and Rocket Mortgage.

When did the journey start for you?

I was born into a musical family, in fact, we are celebrating 100 YEARS of musicians throughout our family line so the journey arguably started the day I was born when my parents had to leave a musical they were performing in when my mom went into labor, soon to return the next day as I slept a day old in the orchestra pit. Officially my personal musical journey began when I was four years old, I started on the piano with my mom who’s a classical pianist, and from there, ironically, it was my mom who chose what would become my life’s passion, DRUMS.

Who are some composers/artists you pull inspiration from?

I’ve always been all over the musical map, if you look at my resume I’ve been fortunate to be involved in many different groups from orchestras, punk rock, funk, and street drumming ensembles. So when I’m composing I have the same eclectic approach and can find inspiration from John Phillip Sousa, John Williams, George Clinton, to Rancid.

What’s the strangest method you’ve used to get the perfect sound?

The world is literally my musical playground and a lot of things I use in tracks are “incognito” everyday items. One time in the studio I really wanted to get a big bass drum sound from a big plastic trash can but just striking it with a mallet wasn’t enough, so I taped it to two chairs leaving the opening in between the chairs while balancing on a stool, hovering over several microphones and with my tiny but mighty striking power I finally got the BIG BOOM!

What’s your favorite piece of gear in your studio?

Straight outta the 1990s, it’s my good ol’ Casio MK-1630 keyboard. It’s been with me since I was a teenager and has been the very foundation that’s gotten me some of my biggest gigs. We go way back and it goes to show you that you don’t always need the fanciest equipment or the latest and greatest to make impactful music.

What’s your favorite score of all time?

It seems a bit cliche, but the first score I felt intensified the importance of music supporting an impactful story was Star Wars. I come from a very small town and we didn’t have much access to the outside world, but when my dad showed me Star Wars my mind was blown. I just wanted to listen to the music over and over and over.

Flash forward, getting the opportunity to see the one and only John Williams conduct the LA Phil at the Hollywood Bowl brought instant happy tears. It wasn’t just to see one of the greats in action but to see the essence of what music can do, unite all walks of life. It’s a timeless score that has brought more people together than we may realize and it’s one score I’ll always cherish.

What’s the oddest job you’ve ever had?

I was a member of a street drumming group for the better part of a decade that toured throughout the US and Canada but also had a residency at Knott’s Scary Farm. We performed on everything from trash cans, barrels, pipes, auto parts, and the occasional power tool. Never did I ever think that street drumming would become such a huge chapter of my life, but still to this day, I am grateful for the experience and definitely have a lot of interesting stories.

What is the best advice you’ve been given?

“The show must go on…” figuratively and literally. Growing up in a musician-filled household and becoming a professional at a very young age, this lesson was constantly taught and shown to me on a daily basis. It’s something when you are a performer, you give your all while deeply respecting and holding great responsibility behind the privilege of being able to express one’s passion through music. The show must go on can also be in a literal sense of the one time I accidentally cut my arm open with a metal grinder during a show but continued to finish the show to eventually bow, exit, and be rushed to the hospital. Not recommended, DO NOT try that anywhere.

The biggest lesson of all inside the saying “The show must go on…” is perseverance. Perseverance is key to the greatness life has to offer, it may not always be an easy ride or go as we planned but if you stay steady on the course towards betterment you’ll reach the unimaginable or as my family always says “Vita Brevis Ars Longa” life is short, but art lives long so make every note count.

Tano Brock is a San Francisco-born producer, songwriter, and mix engineer based in Los Angeles, CA. He grew up in a musical family and began playing numerous instruments at a young age. In his early teenage years, Tano discovered the world of recording and production and became infatuated with writing and producing his own music. This jump-started his career as an artist, songwriter, and producer, leading him to release a completely self-made album at the age of 18. Tano’s music has been featured in ads for brands such as Verizon, Netflix, Microsoft, Adobe, Uber, Salesforce, and more. He also works regularly as a producer and mix engineer, working with artists such as up-and-coming reggaetón performer La Doña, and singer-songwriter Anna Shoemaker.

When did the journey start for you?

I have been surrounded by music for as long as I can remember. Both my parents are musicians, so music was a central part of my family’s household growing up. I started studying darbuka, a Turkish/Middle Eastern drum, when I was six years old, and began piano lessons a year later.

Who are some composers/artists you pull inspiration from?

Paul McCartney first and foremost—The Beatles’ music was the first music I truly fell in love with, and Paul’s songs specifically have had a huge influence on my songwriting. As far as more contemporary composers/artists go: Ryan Tedder, Khalid, The Weeknd, Rosalía, Cautious Clay, and Kehlani; to name a few.

What’s the strangest method you’ve used to get the perfect sound?

This may not be so strange, but it was an amazing happy accident. I was working on a song with my partner Aya Safiya, and we were on opposite coasts working remotely. I sent her a track with an instrumental framework and a single lead vocal part. She experimented and recorded A LOT of takes of slightly different background vocal lines, playing around with different ideas. When she sent me the files, I imported them into my session and pressed play to take a listen. I intended to solo the first track to hear each part individually, but I apparently didn’t press the solo button. Before I was able to press pause, there was a 50+ person gospel choir singing through my monitors. I was absolutely blown away. This accidental choir became a key part of the song. The song is called “Oh Me Oh My.”

What do you do to decompress after a long day in front of the monitors?

Baking! In recent years I’ve gotten really into cooking, especially baking. Making sourdough bread forces me to be patient, work with my hands, and really connect with my sense of touch—the perfect contrast to working with my ears all day.

Which instrument(s) do you have the most fun playing?

If I were answering this question a few years ago, I would say saxophone—sax & clarinet have become my primary instruments in the last decade, but recently I’ve fallen back in love with electric guitar! Channeling my 13-year-old rock band self.

What was your latest gear purchase?

This wasn’t technically a purchase, but Kali Audio just sent me a pair of their new IN-8 coaxial 3-way monitors, and I am absolutely loving them. Game changers for me.

What are two things you’re most proud of? One musical/professional, one personal. No humility allowed.

Professional: This one is sort of a combination of pride and gratitude, but I am proud and very grateful that I have never had to have a job that isn’t music-related. This is something I’ve always hoped to achieve, and so far so good!

Personal: Bringing it back to food again… When I put a lot of time and effort into making food, serving the finished product to friends and family and enjoying it with them always brings me lots of pride and happiness.

Who is your “guilty pleasure” artist?

Right now I would say Bad Bunny. His stuff just slaps so hard.

If you were stranded on a desert island with one album on your Walkman that somehow never ran out of power, what would it be?

This one is really hard. It would probably have to be a Beatles album. I’m gonna go with… Abbey Road.

Ygor Ghensev is a composer and cellist who is very passionate about stories and the art of stirring all kinds of emotions through music. He had a traditional musical education that started at the age of 12 on classical guitar. A few years later, his desire to play in an orchestra made him switch from the acoustic guitar to the cello, with which he has built a career as a member of several orchestras. His passion for music and his desire to create and tell stories led him to the art of composition, in which he was self-taught, exploring different soundscapes to create his own voice. His music can be heard in advertising campaigns for companies like Microsoft, LinkedIn, Wired Magazine, Miami Tourism, Banner Health, as well as in Netflix’s series Fastest Car, television shows such as 20/20, Good Morning America, Nightline, and in several documentaries.

Who are some composers/artists you pull inspiration from?

This list could be a huge list but to name a few: Thomas Newman, Alexandre Desplat, Phillip Glass, Gustavo Santaolalla, Ryuichi Sakamoto, Ólafur Arnalds. Bands like Sigur Rós, and Coldplay. I also have a special love for baroque music mainly from Handel.

What’s the strangest method you’ve used to get the perfect sound?

I love to explore with soft, delicate sounds so I’m always experimenting. Like playing the guitar with fluffy gloves or the cello pitched down as much as possible to get a soft dark timbre and so on.

What do you do to decompress after a long day in front of the monitors?

Run, learn a new idiom (for now I’m trying to improve my Russian), and perfect my burger recipe. Also, I’m getting addicted to playing chess. 

Which instrument(s) do you have the most fun playing?

I’m very comfortable playing all kinds of stringed instruments so I´m always messing around with those.

What’s your favorite score of all time?

The first ones that came to my mind and had a great impact on me were American Beauty by Thomas Newman and Gladiator by Hans Zimmer.

What was your latest gear purchase?

An old violin I took from my wife’s family!

What is the best advice you’ve been given?

Being unabashedly yourself is the best way to be both successful and happy.

An accomplished and popular American composer, Charlie Barnett is the winner of numerous awards for his film scores. Barnett also writes music for television; his credits include Saturday Night Live, Weeds, Royal Pains, and Archer.

Barnett’s lively orchestral and chamber works are performed both nationally and internationally. His theatrical scores include 19: The Musical, a show about the fight for women’s suffrage, and When We Get There, a 1960’s 1960s-era civil rights musical.

As a producer, Barnett has recorded scores of pop and jazz albums for labels including Def Jam and Elektra. As a performer, he plays guitar and piano for Chaise Lounge, an eclectic jazz band that frequently appears on the national college radio charts with his original compositions.

Barnett also writes and has been heard as an occasional commentator on NPR. His essay “Hitching a Ride with Junior McGee” was included in the network’s Classic Driveway Moments compilation.

What’s the strangest method you’ve used to get the perfect sound?

While scoring a six-part documentary series, I needed a large percussive, ringing, and unearthly sound. Outside my favorite recording studio, I found an upright piano on the street waiting for the junk man. I talked two young interns from the studio into stripping it down to just the harp and strings. We set it up in the studio and played it with a wire brush and a brass hammer. We named it the Kablangiphön. I have never found anything else that sounded like it. I would have used it on other projects, but the studio wouldn’t let me keep it there.

Which instrument(s) do you have the most fun playing?

Heaven help me, but I love any chance I get to play my accordion. The first instrument I ever played was the five-string banjo. I still love playing that, especially the old-time frailing style.

What are two things you’re most proud of? One musical/professional, one personal. No humility allowed.

As a composer: I collaborated with Dr. Maya Angelou on a piece that she performed at the lighting of the National Christmas Tree. The piece was played by the US Navy Band and a choir, to accompany Dr. Angelou reciting her poem “Peace.” I spent several days with her at her home in North Carolina writing the sketches for this.

In civilian life: I was the chairman of the board for Maryland Youth Ballet for ten years, starting at a moment of crisis when the prior board had dissolved in conflict and the ballet school had lost its lease. During that time, I helped raise funds for and build a new state-of-the-art facility. It was one of the most stressful and ultimately satisfying things I’ve ever done.

What’s your favorite score of all time?

The Man Who Would Be King by Maurice Jarre. His use of the traditional ballad, “The Minstrel Boy” makes me cry every time I hear Michael Caine and Sean Connery sing it. This is a beautiful, grand, old-school film score.

Who is your “guilty pleasure” artist?

There was a French composer named Roger Roger who wrote production tracks for French TV in the 1950s and 1960s. Someone put out a CD of his music several years ago called Grands Travaux. To some, this might sound like “elevator music.” But the melodies are great, the orchestrations are clever, the performances are excellent and the recordings hold up after all these years. If it is “elevator music” then it has reached the top floor. These tunes make me smile every time I hear them.

Who is your dream composer dinner guest and why?

Oliver Nelson. There are very few jazz albums that have stood up like The Blues and the Abstract Truth has—for sixty years! I love the recording, the playing, the writing, the arranging. I would ask him about his working methods as an arranger. He would certainly have some stories about working with Bill Evans, Eric Dolphy, Paul Chambers, Roy Haynes, and Freddy Hubbard all in the same session. I somehow feel that a guy who had such an organized mind for music would be a great dinner companion.

What are your other hobbies when you’re not in the studio?

For the past few years, I have been on a deep dive into classical Greece. I started by studying the myths and then moved on to studies of the tragedians. Lately, I’ve been learning about the pre-Socratic philosophers. The surprising thing about all of it is that all of the issues from the 5th century BCE feel so current. The rules of tragedy apply to current playwriting. The questions that Socrates asks are still unanswered. And the myths still have lessons that are important to understand.

What is the best advice you’ve been given?

My mother was a farm girl from Maine. Once, when I was complaining to her about not having enough work, she said: “When we had downtime on the farm, we would go to the shed and sharpen the tools.” It was such a simple statement and was spoken without irony. But I have never forgotten it. And whenever I am less than fully employed, I make sure to spend some time sharpening the tools of my trade.