I am a one stop film music composer. I play a large array of instruments, sing, and have scored award winning films all over the world. I am fast, versatile, and all my clients always return to me for their scoring needs. The musical examples are all written, sung/ performed/ programmed, and mixed/ produced by myself in my studio.
The musical tapestry of the Lebanese-English composer/ producer reflects an intricate palette of cultural influences encountered during his upbringing, including those of France, Britain and the US, in addition to the exotic character of the arts from the Middle East.
Born in 1981, Julian never shies away from a musical style or sub-genre. Now working out of his Brooklyn, NY studio, he has espoused an approach to composing for cinema that focuses on inviting the audience to form an intimate bond with the story, serving the vision of the director and amplifying the emotional and kinetic power of the film.
Cassia plays a vast array of instruments, including guitars, drums, percussion, keyboards, clarinet and GuitarViol, a one-of-a-kind hybrid that closely resembles a violin in timbre. The composer firmly believes in the integrity of recording a real instrument, played by a skilled – and even more importantly – expressive performer.
A holder of a dual degree from the Berklee College of Music in Music Synthesis and Film Scoring, as well as a Master's in Composition from NYU, Julian is fluent in English and French, and possesses a working knowledge of Arabic, Italian and Spanish.
Please refer to Cassia’s several award winning Music Production and Film Music pages for examples of his work. For his full list of credits in film, please consult his IMDb page.
Would love to hear from you. Click the contact button above to get in touch.
7 ReviewsEndorse Julian Cassia Music
My experience with Julian has proven to be one of integrity, quality and professionalism. When needed, he went the extra mile to ensure satisfaction. I would highly recommend his work and would absolutely use him again on another project.
It's hard finding a composer that's equally as talented as he is passionate about your projects. That person is Julian. His creative input is always spot on and he's a wonderful collaborator. I've worked with Julian on a number of urgent projects - and the magic he's created in a short period of time is always inspiring. Julian is someone you're going to want to keep on working with, you'll see :)
Julian is a very talented, unique and passionate musician. He's deeply versed in numerous instruments and musical styles. He's a great collaborator. And he's always on time. A pleasure to work with.
I’ve worked with Julian on multiple projects and I’ve always been impressed by his work ethic, positive attitude and creative input. He finds ways to connect with each and every project, and I’ve always appreciated his thoughtful inspirations. A very talented and wonderful collaborator.
A supremely gifted and affable musician, Julian was a pleasure to work with. He was hired to score a film on a tight schedule and with little resources: he was responsive to feedback, positive, and followed direction. I wouldn’t hesitate to hire Julian again.
Have worked with Julian on several projects under different teams and have found him very responsive. The turnaround time on compositions and changes he makes are great. He also has an array of musical talents and keen ear for a wide variety of musical themes. I’ve found communicating directions to him is very easy and pleasant as he takes the time to understand the vocabulary of each person he collaborated with. Highly recommend.
Interview with Julian Cassia Music
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I honestly can say that I am proud of most projects I work on. In their own various ways, they all are unique and engaging.
Q: What are you working on at the moment?
A: Several albums, a feature documentary and I am soon to be working on a TV show.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: I just started my journey on this site, so I am unaware of people on this site thus far.
Q: Analog or digital and why?
A: They both have a considerable list of pros and cons to their name, so both.
Q: What's your 'promise' to your clients?
A: That I won't quit until you think that hiring me was the best decision you made about the music.
Q: What do you like most about your job?
A: Wow, I love to write music, and I love being intimate with the process of how it interacts with visuals. I am endlessly fascinated by it.
Q: What questions do customers most commonly ask you? What's your answer?
A: I can't say there is a common question I am asked.
Q: What's the biggest misconception about what you do?
A: People usually don't realize that I most often play everything in the scores I deliver.
Q: What questions do you ask prospective clients?
A: What they want to communicate in their production. I then investigate if they are flexible about what they wish to articulate in this phase of the narrative, as music is the last step in telling the story, the last chance at tweaking how the film is ultimately seen. As such, I find it useful to explore what can be said musical, if only to reaffirm that the initial intention was indeed the most desired.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Come at me with either great communication skills about your musical vision, or have references. This is a shortcut to my understanding exactly how you intend to approach the musical narrative in your production.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: A guitar, a versatile percussion, a wind instrument, a computer with endless power, and a microphone.
Q: What was your career path? How long have you been doing this?
A: I've been writing music and lyrics since I was 11. From there, I began scratching at all instruments that came my way. Eventually, I went to university for music, and saw that this fascination translated well into the world of music for Film and TV, as, wanting to experiment and try out different sonic landscapes was well encouraged in this field. I kept getting jobs in this field, and as such, I grew further into it.
Q: How would you describe your style?
Q: Which artist would you like to work with and why?
A: David Bowie would have been good. I didn't love everything he did, but I always loved how he did everything.
Q: Can you share one music production tip?
A: Most of the time, you're going to want to cut 200Hz off of most of your tracks.
Q: What type of music do you usually work on?
A: Orchestral, film scores, textural, rock, urban, electronic, and vocal.
Q: What's your strongest skill?
A: I'm difficult to please artistically, and this translates well when I am making a piece of music.
Q: What do you bring to a song?
A: I bring thought. No matter what, I won't sign off on a song or piece of music, unless I feel it has something useful or special about it.
Q: What's your typical work process?
A: Almost always, I connect with the director (or main creative on the team) and we begin by discussing their intent, narratively. The next part of that conversation leads to what musical world can help to bring this out in an elegant fashion, and I then get to work. I begin this work by first realizing sketches to give a better idea to the director of where the process is headed and once the project takes shape in this way, the musical whole is made more unified. The final step is to polish, mix and make the files ready for delivery via (these days), the internet.
Q: Tell us about your studio setup.
A: My studio setup is as minimalistic as possible in terms of gear. I have a fantastic (UAD Apollo) front end, with a great selection of microphones, that allows me to record anything up to 10 inputs at the same time with a phenomenal sound. Anything more than this, in my esteem, is kind of gear porn. The most special thing about my setup is my collection of instruments. I much prefer to record those than program in "real" instruments. There is something immediate about a real instrument, that I feel comes across in a beautiful way within a musical production, that I am unwilling to part with. As a result, over the 25 years I've been producing music now, I have taught myself a mosaic of instruments that have made their way on my productions. These instruments range from traditional (guitars, pianos etc ...) to unique and extremely rare (bowed guitars, marxophones, Ukelin etc ...)
Q: What other musicians or music production professionals inspire you?
A: So many musicians, past and present are inspiring to me! Though an obvious one, Mozart has never ceased to brighten my senses with his perfect blend of seductiveness, playfulness and inventiveness. I find his sense of melody clear, and beautiful gripping. Erik Satie, Debussy and Steve Reich speak to my love of tone, of which they are masters. Painting the air with sonic canvases that tame and soften the soul, though esoteric sounding, I find this to be quite true. Then came Miles Davis, Chet Baker, Rabih Abou Khalil, Yann Tiersen, Kurt Kobain, The Cardigans, The Beatles, Serge Gainsbourg, Phoenix, Air, Arctic Monkeys ... the list is endless, ever growing, and across a virtually limitless boundary of styles. There is so much inspiration to be found in so much of the world! It really is refreshing to delve into the arts to counter the all too cacophonous notion that the world is a dark place.
Q: Describe the most common type of work you do for your clients.
A: I most commonly score narrative fiction and documentary films, as well as commercial spots.