Jared has scored over 300 episodes of television, over 12 internationally released films, worked on major blockbuster films, numerous television series, and worked with renowned composers like Danny Elfman, Kevin Kiner, and Gustavo Santaolalla. Jared has written music in any style/genre, from the wild west to a galaxy far far away!
Jared is a Composer & Music Producer for Film and Television. He has worked with renowned composers Danny Elfman, Kevin Kiner, Gustavo Santaolalla, and John Williams. He wrote music for many television series including Making a Murderer, Star Wars: Rebels, Jane the Virgin, Hell on Wheels, Transformers: Robots in Disguise, and worked on films like Alice Through the Looking Glass, Mr. Peabody & Sherman, and more!
His latest film, Badland (starring Mira Sorvino, Bruce Dern, and Kevin Makley), just saw its theatrical release in November 2019 alongside a soundtrack.
From short films to tent-pole blockbusters, a single instrument to a 90-piece orchestra, and the wild west to a galaxy far far away. Jared is a multi-instrumentalist with experience writing all kinds of music for a variety of projects.
Jared has also worked with some prolific artists, such as Bruno Mars, Flux Pavillion, Mike Pinera, and Marc Mann doing arrangements (strings or other) and audio engineering (recording and/or mixing).
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
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Interview with Jared Forman
Q: What are you working on at the moment?
A: A Synthwave album in my spare time! Its fun and it keeps me away from playing too much Overwatch, Diablo, or Borderlands.
Q: Analog or digital and why?
A: I work 99% digital, although I believe the sweet spot is a mix of both. As a composer for television, there is no time to turn all the knobs back to where they were. As a mixing engineer, you can't fully capture an audio signal running through an actual piece of gear.
Q: What's your 'promise' to your clients?
A: If you're not happy, I'm not happy, and if I'm not happy, I'll keep working until you're happy.
Q: What do you like most about your job?
A: Its not a job it is my life. I love what I do, every aspect of it.
Q: What questions do customers most commonly ask you? What's your answer?
A: What was it like to work on Star Wars? FREAKING. AWESOME. .....and a constant geek-out... Working with Kevin Kiner was one of the greatest experiences of my life. Co-writing with Kiner & John Williams is still surreal to me.
Q: What's the biggest misconception about what you do?
A: Live musicians are ALWAYS necessary. Even if its just 1 instrument (guitar, percussion, vocals, strings, etc.) I always have something live in my scores.
Q: What questions do you ask prospective clients?
A: What is your goal with what you are creating? (is it for you, to release commercially, to make money, etc.)
Q: What advice do you have for a customer looking to hire a provider like you?
A: Feel free to ask me for a demo! I have worked with many people that 'hired the wrong person' and then came to me and are now really close clients.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Well, desert islands don't typically have electricity or wifi.... so I would bring a guitar, a notepad, and a pencil.
Q: What was your career path? How long have you been doing this?
A: I have been working professionally in the music industry for a decade. I started as an audio engineer (recording & mixing), I then worked in Television Music Licensing (business affairs & music supervision) at NBCUniversal, wrote music for a few music libraries, had some awesome placements (The Taste, Deadpool, Chicago Med, etc.), worked on Danny Elfman's music team, worked with Marc Mann on various projects and scores, worked with composer Kevin Kiner on numerous television shows, went freelance and started building some MusicTech software in collaboration with Capitol Studios & Universal Music Group. (more details on that coming soon)
Q: How would you describe your style?
A: Memorable melodies combined with a modern style that aren't constrained by my traditional music training. I am also a chameleon, I can write in anybody's style or combine styles.
Q: Can you share one music production tip?
A: Less is more! Subtractive EQ is powerful is done correctly. Depending on the genre: If your song doesn't stand on its own, stripped down to just melody+accompaniment (vocals+piano), maybe your arrangement needs work.
Q: What type of music do you usually work on?
A: Soundtrack, Score, Synthwave, Funk
Q: What's your strongest skill?
A: Scoring to picture, Music Production, Mixing
Q: What's your typical work process?
A: It all starts with an idea. I am inspired by many things, primarily storytelling. Whether it be a script, a conversation, seeing a film for the first time, reading/writing lyrics, or collaborating with awesome musicians.... I first find the sound pallet for a project (instruments, tone, genre-specific, etc.) and start working on a melody or shaping the soundscape.
Q: Tell us about your studio setup.
A: My intern is a Corgi named Penny. Main computer is a Mac Pro (can't wait to upgrade sometime in 2020!) running Logic or Pro Tools (I am also fluent in Digital Performer, Cubase, and Studio One), I use two satellite computers (custom built PC, mac mini) for hosting virtual instruments and an additional mac mini for video playback. I use Universal Audio Interfaces, Kemper Profiler for all electric guitar sounds, and ATC Speakers.
Q: What other musicians or music production professionals inspire you?
A: My earliest mentor, the late Brian Friedman (Ike & Tina Turner, Jerry Fuller), taught me everything I know about audio engineering (recording, mixing, mastering, etc.). My other mentors include: Marc Mann & Kevin Kiner. Professionals that inspire me the most: John Williams, Danny Elfman, Alan Silvestri, Anamolie, R!iot, Red Hot Chili Peppers, Daft Punk, Miles Davis, Lazer Hawk, etc.
Q: Describe the most common type of work you do for your clients.
A: Score original music for their project (compose, mockup, record, mix, produce, and deliver). Orchestrate/arrange their song (orchestral arrangement and mockup, or other instrumentation). Professional sounding mockup for their score (realistic sounding performance using software). Post-Production editing, mixing, deliverables. Song editing, mixing, or mastering. Produce their song to take their career to the next level.