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AWARD-WINNING TEAMS CREATE AWARD-WINNING PRODUCTIONS


MUSIC SUPERVISION

Let’s Chat



MUSIC SUPERVISION & CONSULTATION

Our award-winning music supervision team operates on a flexible
project-by-project and budget-by-budget basis. Our Music Supervisors work across
the globe and are not only the most passionate people in the craft but some of
the most talented.

With a proven track record of taking your vision and turning it to reality,
whether you're producing for a film, brand or game, we’re the perfect agency for
pioneering and intuitive productions who want the best people working for them.

Learn more


WHO WE WORK WITH

Working to perfectly match music with video to create powerful, engaging and
entertaining content. Indie music from filmmakers and beyond.




CLEARANCE & LICENSING

Making sure your music is fully licensed before your project is distributed can
be a minefield. With years of experience and connections, we’re able to help
take the pain of investigation and negotiation away and make sure you’re ready
for launch with full license agreements. Whether it’s 1 song or 100, we can help
save you time and complication.

 * Rights Holder Investigations
 * Master & Composition Clearances
 * Fee Negotiations
 * Quotes & Approvals
 * Full License Agreements
 * Cue Sheet Management

Learn More



CREATIVE SEARCH & CURATION

Creatively managing your soundtrack around a budget, timescales & accessibility
can be crazy when managing the other elements of production, but it should never
get in the way of making sure you get the best possible result. Our extensive
catalogue of independent music and connections with Labels & Publishers
worldwide, helps put together the best options for you.

 * Script Spotting
 * Creative Song Research & Sourcing
 * Authentic Era & Culture Specific Sourcing
 * Original Soundtrack Curation

Creative Search


COMPOSITION & SOUND DESIGN

Not only can we help manage & advise during this process of your project, but we
also have a roster of experienced and talented composers ready to bring your
project to life. We can work with an existing composer or help source someone
for you.

Composer Search


OUR MUSIC SUPERVISORS


slide 2 of 3


DEREK LEFHOLZ
(UNITED STATES)

TV, FILM & COMMERCIAL

With a deep-rooted career across multiple facets of the music industry, there's
no safer place for the musical needs of your project than Derek's. A member of
the Recording Academy, Derek Lefholz is a Licensing Guru, Music Supervisor and
Label Owner.
Having supervised on a number of films, Derek has also aided thousands of
musicians, artists and bands with agreements, licensing and copyright issues in
retail and media global markets.

However, his real specialty takes him into the commercial world. From the
beginning days of social media on MySpace and Apple’s first social app iLike,
Derek has been involved with coding and integrating music businesses into the
ever-changing technology landscape. He is credited with numerous website builds
and development projects where he has been instrumental in bringing independent
music behemoths to global relevance on the world wide web.


MARTIN HEWETT
(UNITED KINGDOM)

ADVERTISING, GAMES, TRAILERS

Martin has over 20 years of experience in music and licensing and spent over a
decade leading the Music Supervision team at Sony Playstation. He has licensed
music from Adele for SingStar, commissioned exclusive remixes by bands such as
Kraftwerk for WipeOut, and led the music style and tone for games such as
LittleBigPlanet and Gran Turismo. He also went on to win multiple British
Academy Games Awards and also receive many nominations for his work on SingStar
and LittleBigPlanet.


MIKE TURNER
(UNITED STATES)

FILM, TELEVISION, ADVERTISING

Mike Turner is an award winning Music Supervisor and Music Editor for film,
television and advertising. His services have been engaged for films by Judd
Apatow, Michael De Luca, Ice T, Bret Easton Ellis, Paul Schrader, Nick
Cassavetes and Ondi Timoner as well as commercial spots for Converse,
Booking.com, Petco, Estee Lauder, Rise Credit, Microsoft and Acer Computers.

In the world of television, Mike has music supervised series for CBS, Netflix,
MTV Networks, Direct TV, Hulu, Fox Sportst and VICELAND/A&E.

Mike has been delivering soundtracks that meet creative & legal demands whilst
being within budget and on time for the last 10 years.


DEREK LEFHOLZ
(UNITED STATES)

TV, FILM & COMMERCIAL

With a deep-rooted career across multiple facets of the music industry, there's
no safer place for the musical needs of your project than Derek's. A member of
the Recording Academy, Derek Lefholz is a Licensing Guru, Music Supervisor and
Label Owner.
Having supervised on a number of films, Derek has also aided thousands of
musicians, artists and bands with agreements, licensing and copyright issues in
retail and media global markets.

However, his real specialty takes him into the commercial world. From the
beginning days of social media on MySpace and Apple’s first social app iLike,
Derek has been involved with coding and integrating music businesses into the
ever-changing technology landscape. He is credited with numerous website builds
and development projects where he has been instrumental in bringing independent
music behemoths to global relevance on the world wide web.


MARTIN HEWETT
(UNITED KINGDOM)

ADVERTISING, GAMES, TRAILERS

Martin has over 20 years of experience in music and licensing and spent over a
decade leading the Music Supervision team at Sony Playstation. He has licensed
music from Adele for SingStar, commissioned exclusive remixes by bands such as
Kraftwerk for WipeOut, and led the music style and tone for games such as
LittleBigPlanet and Gran Turismo. He also went on to win multiple British
Academy Games Awards and also receive many nominations for his work on SingStar
and LittleBigPlanet.


MARTIN HEWETT


MIKE TURNER


DEREK LEFHOLZ

Let's Chat


COMPOSERS

slide 14 to 18 of 14


DAVID GRUMEL
(ANNECY, FRANCE)

French composer and producer, David Grumel is a master of captivation. Each
composition blends and blurs the lines between artifice and reality through it's
playful use of pop, and embellished organic cinematic elements. With elegance,
and purposeful restraint David utilizes his multi instrumentalist talent to
textural synths, guitars, piano and orchestral percussion to create sweeping
emotionally complex and layered music perfect for picture.




MICHAEL GOLDBERG
(CONNECTICUT, USA)

I love composing music in all genres, which makes writing for TV and Film so
much fun for me.




ANDREA TERRINONI
(ROME, ITALY)

Since the early 2000s, Andrea has been writing for TV Series before moving onto
feature movies over the last 10 years.




KLARYSSA NICOLE KOROL
(LOS ANGELES, UNITED STATES)

Composing for film and television inspires a level of creativity and
satisfaction I never thought would be possible for myself. To be able to paint
an audio landscape of emotion is truly rewarding.




CHRIS CARA
(SOUNI, CYPRUS)

Chris Cara is a composer, producer and mixer passionately writing and producing
for over 2 decades. Creating magic through music is something he believes
happens almost instantaneously if the project is right along with his skills to
work quickly and at a high quality. Before creating any music, he always wants
to understand the vision, this is vital for every step of the production
process.




FROSTI JONSSON
(REYKJAVIK, ICELAND)

“My music has always been inspired by the rough and beautiful nature and
landscape where I grew up. Composing for any visual medium allows me to share my
point of view and try to elevate the bonds between the creative team involved
and the audience. That's both an exciting and inspirational challenge to take on
and very rewarding if things go right.”




MICHAEL BADAL
(LOS ANGELES, UNITED STATES)

“From powerful anthems for the hero’s triumph, to the soaring strings of a
romantic kiss, to the piano chords of a broken heart, music is pivotal to the
storytelling in film and television. It’s an honor to have responsibility that
entrusted in us and it’s the most challenging and rewarding composing I get to
do in the studio.”




OLLIE LLOYD
(LONDON, UNITED KINGDOM)

For me, the joy of composing to picture is the ability to communicate with the
world in a way like no other. Music is a universal language - a communication
tool that transcends borders. We all experience the same excitement, the same
tension, and the same joy, as we immerse ourselves in the beauty of the art,
allowing us to form very real human connections with people around the world. To
be able to share your ideas and your passion in such a powerful way is simply
incredible to me.




AIDAN LEE
(ESSEX, UNITED KINGDOM)

“I love the raw emotion and images you can build in your head listening to film
music, so I turned my focus to teaching myself more in depth theory, arrangement
and production techniques to start creating music suitable for TV, film and
games.”




PHILIPPE FAGNONI
(PARIS, FRANCE)






GRAHAM WAUGH
(LONDON, UNITED KINGDOM)






MAX LUCK
(LONDON, UNITED KINGDOM)






GEORGE HASSALL
(LONDON, UNITED KINGDOM)






DAN NEGOVAN
(WASHINGTON, UNITED STATES)

testing




DAVID GRUMEL
(ANNECY, FRANCE)

French composer and producer, David Grumel is a master of captivation. Each
composition blends and blurs the lines between artifice and reality through it's
playful use of pop, and embellished organic cinematic elements. With elegance,
and purposeful restraint David utilizes his multi instrumentalist talent to
textural synths, guitars, piano and orchestral percussion to create sweeping
emotionally complex and layered music perfect for picture.




MICHAEL GOLDBERG
(CONNECTICUT, USA)

I love composing music in all genres, which makes writing for TV and Film so
much fun for me.




ANDREA TERRINONI
(ROME, ITALY)

Since the early 2000s, Andrea has been writing for TV Series before moving onto
feature movies over the last 10 years.




KLARYSSA NICOLE KOROL
(LOS ANGELES, UNITED STATES)

Composing for film and television inspires a level of creativity and
satisfaction I never thought would be possible for myself. To be able to paint
an audio landscape of emotion is truly rewarding.




CHRIS CARA
(SOUNI, CYPRUS)

Chris Cara is a composer, producer and mixer passionately writing and producing
for over 2 decades. Creating magic through music is something he believes
happens almost instantaneously if the project is right along with his skills to
work quickly and at a high quality. Before creating any music, he always wants
to understand the vision, this is vital for every step of the production
process.




FROSTI JONSSON
(REYKJAVIK, ICELAND)

“My music has always been inspired by the rough and beautiful nature and
landscape where I grew up. Composing for any visual medium allows me to share my
point of view and try to elevate the bonds between the creative team involved
and the audience. That's both an exciting and inspirational challenge to take on
and very rewarding if things go right.”




MICHAEL BADAL
(LOS ANGELES, UNITED STATES)

“From powerful anthems for the hero’s triumph, to the soaring strings of a
romantic kiss, to the piano chords of a broken heart, music is pivotal to the
storytelling in film and television. It’s an honor to have responsibility that
entrusted in us and it’s the most challenging and rewarding composing I get to
do in the studio.”




OLLIE LLOYD
(LONDON, UNITED KINGDOM)

For me, the joy of composing to picture is the ability to communicate with the
world in a way like no other. Music is a universal language - a communication
tool that transcends borders. We all experience the same excitement, the same
tension, and the same joy, as we immerse ourselves in the beauty of the art,
allowing us to form very real human connections with people around the world. To
be able to share your ideas and your passion in such a powerful way is simply
incredible to me.




AIDAN LEE
(ESSEX, UNITED KINGDOM)

“I love the raw emotion and images you can build in your head listening to film
music, so I turned my focus to teaching myself more in depth theory, arrangement
and production techniques to start creating music suitable for TV, film and
games.”




PHILIPPE FAGNONI
(PARIS, FRANCE)






GRAHAM WAUGH
(LONDON, UNITED KINGDOM)






MAX LUCK
(LONDON, UNITED KINGDOM)






GEORGE HASSALL
(LONDON, UNITED KINGDOM)






DAN NEGOVAN
(WASHINGTON, UNITED STATES)

testing




DAVID GRUMEL
(ANNECY, FRANCE)

French composer and producer, David Grumel is a master of captivation. Each
composition blends and blurs the lines between artifice and reality through it's
playful use of pop, and embellished organic cinematic elements. With elegance,
and purposeful restraint David utilizes his multi instrumentalist talent to
textural synths, guitars, piano and orchestral percussion to create sweeping
emotionally complex and layered music perfect for picture.




MICHAEL GOLDBERG
(CONNECTICUT, USA)

I love composing music in all genres, which makes writing for TV and Film so
much fun for me.




ANDREA TERRINONI
(ROME, ITALY)

Since the early 2000s, Andrea has been writing for TV Series before moving onto
feature movies over the last 10 years.




KLARYSSA NICOLE KOROL
(LOS ANGELES, UNITED STATES)

Composing for film and television inspires a level of creativity and
satisfaction I never thought would be possible for myself. To be able to paint
an audio landscape of emotion is truly rewarding.




CHRIS CARA
(SOUNI, CYPRUS)

Chris Cara is a composer, producer and mixer passionately writing and producing
for over 2 decades. Creating magic through music is something he believes
happens almost instantaneously if the project is right along with his skills to
work quickly and at a high quality. Before creating any music, he always wants
to understand the vision, this is vital for every step of the production
process.




FROSTI JONSSON
(REYKJAVIK, ICELAND)

“My music has always been inspired by the rough and beautiful nature and
landscape where I grew up. Composing for any visual medium allows me to share my
point of view and try to elevate the bonds between the creative team involved
and the audience. That's both an exciting and inspirational challenge to take on
and very rewarding if things go right.”




MICHAEL BADAL
(LOS ANGELES, UNITED STATES)

“From powerful anthems for the hero’s triumph, to the soaring strings of a
romantic kiss, to the piano chords of a broken heart, music is pivotal to the
storytelling in film and television. It’s an honor to have responsibility that
entrusted in us and it’s the most challenging and rewarding composing I get to
do in the studio.”




OLLIE LLOYD
(LONDON, UNITED KINGDOM)

For me, the joy of composing to picture is the ability to communicate with the
world in a way like no other. Music is a universal language - a communication
tool that transcends borders. We all experience the same excitement, the same
tension, and the same joy, as we immerse ourselves in the beauty of the art,
allowing us to form very real human connections with people around the world. To
be able to share your ideas and your passion in such a powerful way is simply
incredible to me.




AIDAN LEE
(ESSEX, UNITED KINGDOM)

“I love the raw emotion and images you can build in your head listening to film
music, so I turned my focus to teaching myself more in depth theory, arrangement
and production techniques to start creating music suitable for TV, film and
games.”




PHILIPPE FAGNONI
(PARIS, FRANCE)






GRAHAM WAUGH
(LONDON, UNITED KINGDOM)






MAX LUCK
(LONDON, UNITED KINGDOM)







MUSIC LICENSING

Home to the world's most talented independent artists, record labels and music
publishers for original work and cover songs.

Music Licensing



LET'S CHAT

Get in touch with our in-house team today to discuss your needs and discuss what
team would be best to make your audio a success.

concierge@musicgateway.com

Get in touch


HIRING A MUSIC SUPERVISOR: FAQS


WHAT ARE A MUSIC SUPERVISOR’S RESPONSIBILITIES?

Music Supervision is quite broad but in short, Music Supervisors prepare
budgets, negotiate contracts and attend scheduling meetings and spotting
sessions. They also check licenses and forward them to the production company.
They also act as the liaison between the publishers, record companies and the
production company.


WHY SHOULD YOU USE A MUSIC SUPERVISOR?

Music supervisors can be the difference between a good soundtrack and a great
soundtrack. They are able to find the perfect match for your project in sonic
form and oversee the entire process. They provide an essential service that will
make producers or filmmakers’ lives that much easier. They will also choose the
correctly licensed music for your project, to avoid copyright infringement.


WHAT PROJECTS NEED A MUSIC SUPERVISOR?

Any audio-visual medium, such as film, television show, video game or
advertisement will require a musicsupervisor if you wish to use copyrighted
music. A music supervisor contact list can be a valuable tool in choosing the
right sounds for production, and so a music supervisor is an important part of
the production team.


HOW MUCH DOES A MUSIC SUPERVISOR COST?

Music supervisors typically charge flat fees for their work. The amount of money
they earn is usually based on the size of project budgets. For small TV
projects, it could be in the $0 – $10,000 range whereas for big projects it
could be up to $500,000. 


WHAT IS MUSIC SUPERVISION?

Our friends at the Guild of Music Supervisors describe the craft of Music
Supervision as the following; A professional music supervisor is employed to
oversee various aspects of music-related elements of a project or production,
such as film, television, gaming, advertising, trailers, interactive media or
theatre.


WHAT DOES A MUSIC SUPERVISOR DO? 

Music supervision is the art of selecting and licensing preexisting songs or
recordings to use in visual media. It’s key to have a vast knowledge of music,
music history and long-standing connections in the music industry. The music
department works across film, TV shows, video games and advertising. 

Skilled music supervisors have a knack for choosing the perfect song to enhance
a dramatic television moment. Or perhaps they are the ones to call to help an
advertising producer make the right music choices.

Their role can also extend to finding a cost-effective workaround when a film’s
plot requires a particularly expensive or hard-to-license recording. 

CONNECTION

One of the main roles a music supervisor does is connect the specific vision of
a director or producer to the right music that’s licensed legally by the music
business rights holders. They lead as head of the music department within the
confines of film production.

A music supervisor seeks and suggests different styles and genres of music for a
specific project. If the tracks suggested are not sitting well with the
visionaries, they go back to the drawing board.

In some cases, the music supervisor is also responsible to find a capable
composer if needed. 

SPOTTING

It is the music supervisor’s job to find spots in a film, or rough cut, for
music that will support the emotion of the storytelling. TV music and Film music
will often differ greatly in this respect.

Then, they will decide where background music, source music, main title or end
title songs will come in. This is also whether the need for an original film
score is determined. 

For that, the musicsuperviser works closely with the composer for this
particular project. A score will then be composed, or pre-existing music will be
licensed and used. 

NEGOTIATING & LICENSING

In order to use a piece of pre-existing music, music supervisors must negotiate
the rights and costs with licensing representatives.

These are the people employed by record labels, music publishers, and the
original artists or songwriters themselves. The negotiations usually concern
cost but could also require persuading the artist to let you use their music. 

ROYALTY DISTRIBUTION 

The music supervisor is additionally responsible for tracking all music that is
used in the production via a “cue sheet”.

This is to make sure royalties in production get distributed fairly and in a
timely manner. A cue sheet is the list of songs and music used in a specific
production. 


HOW MUCH DO MUSIC SUPERVISORS CHARGE?

Music supervision companies the UK tend to charge flat fees for their work. The
amount of money they earn is usually based on the size of project budgets. Fees
for a TV episode can range from $2,000 (£1420) to $5,000 (£3,540)

For a low-budget, independent film, fees can range from $0 to $15,000 (£10,630).
For a studio feature the range can be anywhere from $10,000 or £7090
(low-budget) to $500,000 or £354,000 (blockbuster level).

Music supervisors can sometimes negotiate royalties on soundtracks. If
negotiated, they can receive bonuses if the productions they had worked on
surpass the predetermined earnings thresholds.


HOW DO MUSIC SUPERVISORS FIND MUSIC?

Music supervisors looking for music will be told or shown a scene in which they
need music. After gathering a feel for what they need, and the budget they have,
they then get to work. 

Music Supervision London starts with searching the songs they have tagged and
filed on their computers. They follow a music supervisor guide and will
typically have a plethora of songs sent to them by artist managers, indie labels
etc. They will search for keywords that suit the project and the scene at hand.
They should find several songs that fit the project. 

After this, they will send the brief /budget/deadline out to the relevant
people, who then start to send back their track ideas. The music supervisor will
then compile a playlist and send it back to the producer or music editor. They
choose a song and it gets licensed


MUSIC SUPERVISION WITH MUSIC GATEWAY

Here at Music Gateway, we have an award-winning music supervision team who
operates on a flexible project-by-project and budget-by-budget basis and the
main goal is to build relationships with independent artists. Our list of Music
Supervisors work across the globe and are not only the most passionate people in
the craft but some of the most talented.

We work with a grand array of companies, such as Netflix, Disney, Virgin Media
and countless more, to perfectly match music with audio-visual products. Our
extensive catalogue of independent music and connections with Labels &
Publishers worldwide helps put together the best options for you.

Additionally, with years of experience and connections, we’re able to help take
the pain of investigation and negotiation away and make sure you’re ready for
launch with full license agreements and start on your music career path.

Not only can we help manage & advise during this process of your project but we
also have a roster of experienced and talented composers ready to bring your
project to life. We can work with an existing composer or help source someone
for you.

If you are wondering how to submit music to music supervisors or want to know
more about the music supervisors accepting submissions in your genre, then learn
more about how to contact music supervisors and the best practice for pitching
to music supervisors.

If you are considering a music supervision course, want to know more about ad
agency music supervisors, overseas roles like music supervisor France or how to
get prolific roles like Netflix music supervisor, then read how to become a
music supervisor.





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