Yes. Please hit me up at abbyldiamond@gmail.com. I can tackle a wide variety of briefs and particularly love projects that involve bringing in underrepresented talent.

I have written and creative directed music to picture for over ten years. Together we will pull references to establish what you are liking and not liking for your project. When it comes time to tweaking and revisions, I advise clients not to worry if they are saying the “right thing.” For example: “I want the tempo to be faster in the end” very rarely means accelerate the tempo, but on my end to add additional percussion elements or more subdivided beats to get the sensation that the music is picking up speed. Similarly, if you feel you misspeak that a “piano” sounds too high, I’m pretty good at discerning what instrument it is that you’re identifying and would provide options where I take the melody down an octave (eight notes lower), or change it so it doesn’t go so high, etc. The gist is, don’t be embarrassed — I gotchu! I also would place a bet that many musicians can’t discern between horn instruments.

Original music budgets have to do with whether you would like a license (to use the composition for a period of time) or a buyout (owning the publishing in perpetuity.) Most network animation shows are the latter, whereas TV shows are often a non-exclusive license. Speaking of media, the rate also has to do with whether it is living on broadcast or only online, and also the length of the piece and whether I need to hire particular talent. If you are a composer who is only looking for me to sing on your project, my session rate is the standard fee.

I have a Telefunken Elektroakustik AK-47 MkII and a number of other less expensive mics, but that one is usually the ticket. I use Logic and have a Universal Audio interface and have every plug-in known to woman. I love my Focal Point speakers. Instrument-wise my Gibson and strat are the best, but I do have a Guild guitar that gets some play. Yamaha U1 that’s a timeless classic for a reason, and a number of synths.

Everyone has their own path but I’ll tell you mine: I got my start working in music production houses in New York City, where I learned how to produce both in the sense of schedules and budget, and also in making music for commercials. Staff jobs at music houses are hard to come by these days, and almost every owner is going to want to know that you have been “vetted” with experience scoring to picture before entrusting you with writing a demo. I recommend looking into stock music or library companies who accept submissions from young composers so you start to build up your arsenal of music and skills. For more one-on-one consulting see here