John McQuaig on SoundBetter

Dynamic, versatile composer, who will enhance and complement your project.

Hello! I am film composer based in New York City. I've most recently worked with filmmaker alumni of such festivals as the Tribeca Film Festival, the Berlin International Film Festival, and the Austin Film Festival. When composing for film and media, my work is always driven by story first. With my extensive musical vocabulary and training -- a Master's degree in Screen Scoring and Master's degree in Piano Performance from New York University -- I reach the narrative core of each project with the keen ability to enhance any given story. My signature sound is often characterized by a pulsing optimism, a vibrant melodic focus, or spacious, evocative textures.

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3 Reviews

Endorse John McQuaig

by Alessia Mandanici
Working on my short film Schwarzmoll (https://schwarzmoll.com) with John was a delight. His music elevated the movie to a completely new emotional plane. Even though I had edited the film for months and seen it countless times, I still couldn't help but cry when he played me the final track for the first time, featuring a live cello recording. John is a genuinely patient, considerate, and hardworking musician who is willing to work with you for as long as it takes to ensure the score fits the film and your expectations perfectly. I would work with him anytime again; an excellent collaborator!
by Benton Floyd
Our podcast needed an intro theme. We turned to John after seeing his excellent work in a short film. We needed a very specific feel and atmosphere for the podcast and after just a couple of conversations with John he absolutely nailed what we needed with the first tune he provided. He, in fact, provided us two to choose from and the first one was simply perfect. John was very easy to work with. He communicated well and worked faster than we expected. I highly recommend John as a composer.
by Ailis DeTommaso
John is just one of the most incredibly talented people I’ve ever had the privilege of working with. The composing work he did for my short film absolutely elevated the project into another realm, as he translated my vision even better than I thought possible. He’s a pleasure to work with and I am beyond grateful for his ability to take my (very much lacking) technical musical vocabulary and still produce exactly what I was looking for and then some. Thank you, thank you, thank you!!

Interview with John McQuaig

Q: What's your 'promise' to your clients?
A: I will always listen to what the director and the story have to offer in order to be the best collaborator I can be.
Q: What's the biggest misconception about what you do?
A: That we get it right on the first try. There are almost always revisions involved, and our job is to adapt and make the changes that will best suit the director's vision and the story. Getting all the small details right as far as timing, instrumentation, and mood requires a patient and generous collaborative spirit.
Q: Analog or digital and why?
A: Analog, or rather, live instruments. When it comes to instruments, synths, or even reverb, nothing beats the real thing. The most iconic scores are almost always recorded with live instruments, even when there are inevitably other digital elements present. A recent, shining example of this is Ludwig Göransson's score for "Oppenheimer."
Q: How would you describe your style?
A: My signature sound is often characterized by pulsing optimism, vibrant melodic focus, or spacious, evocative textures.
Q: What other musicians or music production professionals inspire you?
A: Two of my current favorite film composers are Jonny Greenwood (Radiohead, Phantom Thread, There Will Be Blood) and Thomas Newman (1917, Finding Nemo, Skyfall) -- Greenwood for his inventive, "rule-breaking," approach, and Newman for his ability to transcend traditional orchestral scoring while holding room for its history. These aspects most strongly influence the kind of composer I am and aspire to be.
Q: Describe the most common type of work you do for your clients.
A: Creating original music for film, video games, podcasts, and other media.