emp music is a common part of film production, but it can be both a powerful guide and a creative constraint. In this post, I share how I approach temp tracks as a composer, how I analyse them, when I follow them closely, and when it’s worth questioning them to serve the film more deeply.

A practical vocal mixing breakdown from my work with Heatwavers, exploring how EQ, compression, saturation, and subtle effects were used to shape the vocal on “Today I’ll Mostly Be” and help it sit naturally in the track.

Working Together Remotely: A Collaborative Approach to Music & Film

Protecting the Emotional Space of the Film