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In this episode of The Sync Music Matters Podcast I’m talking to Music Supervisor and Consultant Isaac Allaway (previously) Emma Middleton.
Isaac is a film trailer specialist and was voted “Music Supervisor of the Year” in 2020 at AIM Sync. He was also a winner and finalist at the Music & Sound Awards for his work on trailers for The Crown Seasons 3 & 4.
I often talk about the important of irreverence in the creative field and Isaac loves to try new and unexpected musical ideas. I love the fact that he has a ‘curveballs’ folder.
Isaac and I talk about how he went from studying English literature to setting up his own Music Supervision agency.
We go under the skin on his recent projects working on The Witcher and The Crown where he provides insights into the world of both sourcing and writing music for movie trailers.
We discuss his love affair with the music of John Powell… and how he left behind the Javelin in favour of a career in music.
So grab yourself a brew, sit back and enjoy this fascinating and insightful interview with Isaac Allaway
The trailers, music and companies that we discuss are all linked in the show notes below
Isaac Allaway’s website and work
The Witcher Season 2 – Trailer (Rubato Music)
The Crown Season 3 Trailer (Rubato Music)
Companies mentioned by Isaac Allaway
Music that has inspired Isaac Allaway
John Powell – How To Train Your Dragon OST
John Powell – Should I Know You (How To Train Your Dragon 2 OST)
In Episode 4 of The Sync Music Matters Podcast I’m talking to Universal Production Music’s senior producer Andrew Stannard
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Jeff Russo – Scoring Alien: Earth. On Sync Music Matters this week, I sit down with Emmy-winning composer Jeff Russo the creative force behind some of television’s most memorable music. From the darkly playful Fargo score to his latest work on Alien Earth (now streaming on Disney+), Jeff has a gift for crafting soundscapes that challenge, surprise, and deepen the stories they accompany.
We talk about scoring Alien: Earth and following in the footsteps of Jerry Goldsmith and James Horner. Jeff also reflects on his early career as a producer and songwriter, working alongside Wendy Melvoin and Lisa Coleman from Prince’s band The Revolution, and his friendship with Lenny Kravitz.
Our conversation also dug into his long-standing creative partnership with Noah Hawley. Their first project together, The Unusuals, marked the start of a collaboration that has carried through to Fargo and now Alien Earth. Jeff spoke about the trust and shared vision that comes from years of working together.
And then there are the instruments. The Bassdesmaphone or the Aztec Death Whistle, the unconventional tools tools which spark creativity
This episode is full of insights and inspiration
Jeff Russo is an Emmy Award-winning and Grammy-nominated composer, songwriter, guitarist, vocalist and music producer.
Jeff has scored a plethora of movies and TV series and received an Emmy in 2017 for his work on Fargo and was nominated a further four times.
Recent film credits include The Last Rodeo; Star Trek: Section 31 whilst resent series include FX’s Alien: Earth and Netflix’ Untamed
Jeff is also a founding member, lead guitarist and co-songwriter of two-time Grammy nominated, multi-platinum selling rock band,Tonic
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Andrew Lockington Interview – This week on Sync Music Matters I’m joined by Canadian composer Andrew Lockington whose music you may have heard recently on shows like Mayor of Kingstown, Lioness and Landman. All shows which were created and directed by Taylor Sheridan
We delve into the score for Landman, Andrew’s creative process and how a lot of the music was written before any footage has been shot. We also discuss the art of embracing imperfection and how the emotion behind the music is maybe more important than the music itself. Andrew also reveals why he thinks that only 50% of composing is actually about the music.
Andrew Lockington is best-known for his epic scores to the Warner Bros. blockbusters San Andreas, Rampage and Journey 2: The Mysterious Island, which together have surpassed over $1 billion in box office revenues.
Recent and current credits include Netflix’s epic sci-fi feature Atlas starring Jennifer Lopez and several projects with Taylor Sheridan including Mayor of Kingstown, Lioness and Landman.
Andrew is always looking to push the boundaries of film scoring which has led him to recording in exotic locations like jungles of Papua New Guinea, ancient temples in Northern Japan, a volcano in Polynesia and an abandoned subway station beneath central London.
Andrew Lockington on Instagram
Andrew Lockington Website
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In this episode of Sync Music Matters, I sit down with Jenn Anderson-Miller, a leading voice at the intersection of music, technology, and rights, to explore how How AI Is Reshaping the Music Industry from how music is made to how creators are protected.
About Jenn Miller – How AI Is Reshaping the Music Industry
Jenn Miller is the CEO and Co-Founder of Audiosocket, a forward-thinking music tech company revolutionising how music is licensed and used in media. With over 15 years of experience helping shape the music licensing landscape, Jenn is also the host of the insightful new series, Equitable Solutions for Creators in an AI Era.
Jenn has participated in the DOJ Copyright Roundtable Sessions and recently moderated a SXSW panel on the future of music rights management. She brings a wealth of knowledge, passion, and real-world experience to the urgent conversation about How AI Is Reshaping the Music Industry.
Traditional AI vs Generative AI: What’s the Difference?
We begin by unpacking the difference between traditional AI, which powers tools like recommendation engines and music data analytics, and generative AI, which can now create entirely new compositions, lyrics, and even synthetic vocals.
What does this mean for artists, composers, and rights holders.
Will AI Replace Human Composers?
Can generative AI replace human composers? That’s one of the key questions we explore. While AI is capable of generating music at scale, Jenn emphasises the emotion, humanity, and lived experience that only human creators bring – the very qualities that make music truly resonate.
We also examine whether the rise of AI-generated content will push audiences to seek out more authentic, human connection through music and what that might mean for the future of music.
Rights Management in the Age of AI
A major focus of our conversation is the evolving world of music rights management. As AI tools become capable of generating content that mimics real artists or samples existing work, who owns the rights to AI-generated music?
Jenn shares her expertise on the legal and ethical implications, the need for updated rights frameworks, and why protecting creators is more important than ever.
Key Takeaways:
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AI will transform music workflows, but human creativity remains irreplaceable.
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Emotion and authenticity are the core of what makes music meaningful.
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The industry must modernize rights management systems to address AI’s impact.
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Advocacy and equitable solutions for creators are key to shaping a fair future.
Interesting Article: Why AI Can’t Make Art (and Probably Never Will) https://lateralaction.com/
