Emmy-nominated composer and mixer with a depth of experience and a fresh pair of ears.
I have written, produced and mixed music and songs for hundreds of episodes of network TV, TV commercials, and hours of music for online media and video games.
I also act as Music and Audio Director for HITRECORD, the collaborative creative platform founded by writer/director/actor Joseph Gordon-Levitt; In this capacity, I have led the production of music for multiple seasons of TV shows, live events, international TV commercials, album releases, and songs for AAA video games.
I encourage you to have a listen to some music samples here or on my website: www.jeffsudakin.com
I'm eager to form new creative partnerships, and looking forward to all the great things to come...for ALL of us.
Send me an email through 'Contact' button above and I'll get back to you asap.
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Interview with Jeff Sudakin
Q: Describe the most common type of work you do for your clients.
A: At the risk of sounding trite: I don't have a 'most common' type of job. I've enjoyed creating sets of short bumpers for episodic productions as much as developing themes over time for over full-length features.
Q: Tell us about your studio setup.
A: I use a pro tools HD system with all the voices and DSP I need for any production I do. I have a small live recording area in which I can do a drum kit or a small ensemble of 4-5 people as needed. Orchestral samples come from East-West Quantum Leap, Hollywood Brass, and Native Instruments. I have a deep library of samples curated over a 25+ year career of making music professionally...Some of my old sounds are new again : )
Q: What's your typical work process?
A: I'm very-much about 'measure twice, cut once'. I'll gladly spend an entire day staring at the wall with a pad of paper or a laptop, just THINKING about the best approach and procedure for a given score, counting out cues and assigning resources, before making any sounds. That allows me to do the actual composing and execution free from distractions or fear of going down blind alleys. This also gives me the opportunity to clearly elucidate my plans to my partners (that's YOU), so we all know what to expect and when to expect it.
Q: What's your strongest skill?
A: My resourcefulness; MacGuyver-level.
Q: What type of music do you usually work on?
A: I will happily speak in genres and artist references with clients to help everyone understand each other; But in general, talk of 'genre' can really distract and confuse people, too...Especially if one or more parties is more of a filmmaker (or producer or actor or...) than a musician or composer. Also, I've been writing music for long-enough that there's really no genre I wouldn't find myself comfortable working in.
Q: Can you share one music production tip?
A: Don't move forward until you know your current stage is truly finished-enough to support it. ie: Make sure your song is good before recording it; Make sure your basic tracks are solid before overdubbing onto them.
Q: How would you describe your style?
A: I've been accused of writing music that's more 'sophisticated' than it needs to be sometimes. Maybe *that*'s my style(?)
Q: What was your career path? How long have you been doing this?
A: I've been making music since first pecking out melodies on the piano at age 6. At the risk of sounding dramatic: It's simply clearly what I was put here on Earth to do. I'm just thankful that I discovered it early enough that I could develop it.
Q: What questions do you ask prospective clients?
A: When do you need it?
Q: What's your 'promise' to your clients?
A: I promise to take your project seriously; To give it the truly professional attention I'm capable of giving it. I wouldn't have taken it on otherwise. Also: 'Reliability' is big with me: If I say 'x' will arrive at some specific time, you can count on it like the sun coming up in the morning.
Q: What are you working on at the moment?
A: Ask again in a couple days, cuz it'll be something else!
Q: What advice do you have for a customer looking to hire a provider like you?
A: Make sure that the composer you're hiring is listening to you. There might be a "usual" musical way to approach your project, but you're hiring him or her to use music to convey what YOU want to convey, not to burnish their reel. Also: Run screaming from any composer who can only engage with you on matters of music in strict musical vocabulary and terms, and not more universal ones. As a composer, part of my job is to be an interpreter for filmmakers who might not know a tamboura from a tambourine, but who have a very specific idea or emotion they want to convey with a certain scene / line / character reveal. A good composer speaks with the director in the language they're most-fluent with.