I write produce and compose for film, TV, ads, catalogues and everything in between. From basic orchestration to the nitty gritty details of a dynamic cinematic/orchestral mix, there's a lot that goes into this genre. I'll help you compose/mix/master while walking you through my process so that you can learn along the way.
My goal is to set you up with a really professional sounding composition that is up to standard with todays popular cinematic music while teaching what I can along the way in the hopes that one day you'll no longer need me!
In all seriousness, even more than having a good mix/arrangement, you should learn how to do it yourself. In addition to composing and producing, I worked as a sync licensing agent for 3.5 years and can tell you upfront that theres only more people entering into this field every single day, and if you're wanting to be competitive in the industry you'll need to know how to do all of it. There's a lot of great resources out there to learn from but personally, I've always gotten the most from talking to engineers and learning about how they treat my own tracks which is my aim with every client. To not only give them what they need but the tools to replicate it.
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
1 ReviewsEndorse Colton Dewberry
Incredible works and knowledge of mixing, producing, and mastering. Colton mixed and produced all my songs under the name rococo, and I couldn’t be happier with the work he did. He worked wonders on the songs I wrote, that would not have been half as good without a good mix. He’s also just a great guy whose very easy to work with. If you’re looking for someone to do some amazing mixing, production, mastering, or composing this is your man.
Interview with Colton Dewberry
Q: What questions do you ask prospective clients?
A: What's the track going to be used for? This effects so much of the process down the line. If its going in a pop track then I'll chose different mic positions for the sections than I would for a cinematic piece.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Try to learn as much as you can from them. If you can do it yourself you dont have to rely on others and you will eventually get to a place where you always get what you want out of a track.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: A keyboard and a computer is all you need these days.
Q: What was your career path? How long have you been doing this?
A: I started out playing guitar and eventually went to Berklee College of Music for it. While there we were given laptops that had some virtual instruments on it. I played around with those and eventually fell in love with the ones that sounded like an orchestra. That was about 10 years or so ago and I've been in it ever since!
Q: How would you describe your style?
A: Ever Changing. I get excited easily in music and when that spark hits
Q: Which artist would you like to work with and why?
A: Ari Aster. I love his take on the horror genre and there is no genre of film more visceral than horror. It's so fun to to be able to illicit the uneasy feeling in someone with just the right notes.
Q: Can you share one music production tip?
A: I've never been steered wrong in chasing my own curiosity. Chase the things that make you excited and you'll end up with something you're happy with, and if other people like it thats just the added bonus.
Q: What type of music do you usually work on?
A: Cinematic usually, but there are so many different flavors in that genre which is ultimately why I enjoy doing it.
Q: What's your strongest skill?
A: Composition and establishing that emotional connection to the listener.
Q: What do you bring to a song?
A: Balance and knowing when to make something hit. It's not always about being big and loud in the listeners face, you have to give the filmmaker room to get their voice in first. A good composer can do both.
Q: What's your typical work process?
A: Arrangement first. A lot of guys think there's something wrong with their mix but in reality the arrangement is most often the problem. The arrangement is the cake, the mix is the icing, and the master is the detailed piping work.
Q: Tell us about your studio setup.
A: Home studio, all in the box. If that's something that matters to you then I'm not your guy. My focus is on the result and if a 5$ plug in can get you that, then thats the tool for the job. I have the waves suite, Native instruments suite, soundtoys suite, and a bunch more fun little toys to play around with sound.
Q: What other musicians or music production professionals inspire you?
A: I've always loved the music of Alexandre Desplat and Kanye West. Thats what I love about Ludwig Göransson. He marries the high energy maximalist Hip-Hop sound with compelling orchestra arrangements. Its just such a diverse sound.
Q: Describe the most common type of work you do for your clients.
A: Compose for their media, whether it be film, ad, game, whatever... I write music that makes people feel something when the client wants them to feel it.