Your edit has the rhythm.
We bring the melody.
Bespoke scoring for commercials, games, film and television. Composed in-house or with a roster assembled for the brief, recorded live where it matters, delivered as stems with the rights sorted before you ask.
01 — What we score
-
Commercials and brand films
Scored to the cut, so the music moves with the edit instead of fighting it. Campaign-level themes that hold across spots, seasons, and markets — and still work after the recut.
-
Games
Linear cues and adaptive systems. Menu to boss loop, ambient beds to full interactive score.
-
Film and television
Series and feature score, delivered episode-to-episode on broadcast schedules that don't move.
-
Themes, idents and radio
Show themes, station idents, jingles — the short-form work that has to survive a thousand plays.
-
Corporate and internal
Launch films, event openers, product reels. Same process, scaled to the budget.
02 — Who writes it
Composer, in-house team, or a roster built for the brief.
Some briefs stay at the founder's desk. Some go to our in-house composers. Some need a voice we don't have on staff, and for those we assemble a roster — a specific composer, arranger, or player picked for that brief rather than whoever's free.
The setup is hybrid by default. We track live where live earns its place — soloists, small ensembles, and up to full scoring stages when the project carries it. Everything else stays in the box, at a standard that doesn't announce which is which.
You deal with one producer either way. The roster is our problem, not yours.
03 — Game middleware
Wwise and FMOD, implemented in-house.
We don't hand off a folder of loops and wish the audio programmer luck. Adaptive scores are built as systems: vertical layers, horizontal re-sequencing, transition and stinger logic, state and parameter mapping — authored, implemented, and tested in the middleware by someone who does this full time.
If your team owns implementation, we deliver session-ready assets built to your naming and event structure. If you'd rather we own it end to end, we do that too.
04 — Rights & delivery
-
Buyout or licence
Full buyout where you need the asset outright; term, territory, and media-limited licences where a buyout is overkill for the budget.
-
Stems as standard
Every delivery comes with stems at no extra charge.
-
Alt lengths and versions
60/30/15/6, bed and sting versions, dialogue-safe mixes — cut from the score, delivered on the same schedule.
-
Cue sheets and PRO registration
Handled in-house when the delivery calls for it, so nothing stalls at broadcast handover.
05 — Selected work
06 — Get in touch
Send us the cut, the deadline, and how you need to own it.
Three things get us to a real answer fast: the picture (or the build), the delivery date, and what the rights need to look like. Reference tracks help. A finished brief isn't required.