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Screen Music Composition

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Screen Music Composition

Screen Music Composition is one of the central services that Crash Symphony Productions provides. Our tailored creative service encompasses many different areas. We compose for television and radio commercials, sonic branding for businesses, and of course, film music.
Each area of composition is uniquely different and requires experience and honed skill. As a result we have a number of different composers that specialise. Some screen music composition projects require a very electronic approach.

I love Working With James


I’ve been working professionally with James Englund since 2009. His musicality and technical knowledge are second to none.

- Jeremy Curran

Screen Music Composition and Commercial Composition

Composing music for a film requires a very different approach to composing for commercials. Films are longer projects. Often they are changing in length and structure right up to the end of the production. Close liaising with the film director is required to achieve the final result and at times it can be challenging when the timing of a film is often changing. Sometime film music requires very forward melodic content, but often what is required is very subtle and non-intrusive support of the activity that is visually presented. Creating the appropriate atmosphere and emotional ambience takes experience but what is key to remaining open to compositional flexibility throughout the entire project.
Commercial compositions involve a different approach to film work. They are very fast paced and delivery-deadlines can be extremely tight. Often getting the piece of music to fit into such a short timeframe requires some tweaking. We provide our clients with a few versions of the commercial music clips we compose for them. Often these are 1 minute, 30 seconds, 15 seconds and 4 seconds. The guidelines for providing these timeframes are pretty specific and we have a lot of experience in making sure that each of those clips serves its intended purpose and delivers the impact required.

Communication is the Key

We understand that not everybody speaks musical jargon. Communicational flexibility is paramount to making sure we deliver the results that are right. People have different ways of expressing what it is that they want for their project. We remain open to communicating in whatever way helps us understand the project vision. Often times it is helpful to get some examples of other projects that are similar in nature. Also, we try and arrange a meeting so we can explore, in detail, what the hopes of our clients are for the final delivery. We usually start by providing a few sketches (options) of what direction we can take. Once we know that we are on the same page as our client we can then get into more production depth and advance the idea.

Compositional Budgets

We charge according to the specific details of the project. A computer can be the main tool in the case of most projects. In contrast, large screen music composition projects may involve hiring big orchestras and a large sound stage. Other projects may be an outright fee with no licensing. Licensing agreements are used with more large-scale commercial projects. For example, this might be where the product will be marketed to the public. All of our quotes will be based on the particular details relating to the use of the project usage and the scale involved in bringing it to completion.
Affordable budgets can be met by using the technology that is available today. For example, piano samples have become so realistic that they are very common on large scale screen music composition work. Furthermore, large orchestral work can also be created on an affordable budget by using virtual instruments like the Vienna Symphonic Library. This is an advanced piece of software that our studio uses when projects do not have the resources to record the full orchestra. Virtual Instruments can achieve great results at an affordable cost.

Outlining how we work with the client

Dealing in Screen Music composition can be daunting for the client when they’ve never dealt with a music production house before. In order to make sure that people feel as comfortable as possible we have outlined how we do business in as much detail as possible. This is so there are no hidden costs or nasty surprises. Managing and delivering above and beyond expectations is what we do. Every customer is important to us and that’s why we like to keep our work quality high. For this reason we encourage people to communicate with us as much as they need to.
We will supply your project meeting all current industry sound standards and formats as required.
View Film & Screen Music Composition & Production Examples

Clients say

  • “Matt is a joy to work with. He has an instinctive understanding of drama, composing beautifully for both performance and story. His subtle, delicate score for The Orchard contributes immensely to the atmosphere, metaphor and subtext of the film, helping the audience access the feeling states and complex character perspectives of the film. I highly recommend Matt and his work to both producers and directors.”

    Laura Scrivano, Writer/Director Winner – 2013 European Union Film Award (The Orchard)

Expert Engineers

Working with us means working with the best.

James Englund

James Englund


Stewart Havill

Stewart Havill


Borbala (Bobo)

Borbala (Bobo)

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