Big‑league scores don’t appear out of thin air—they’re built through craft, collaboration, and choices that balance art and business. I sit down with George Warren and Nico Pacella; two composers from Hans Zimmer's award winning Composer Collective, Bleeding Fingers, to trace how high‑impact music for TV and film gets made. From spotting sessions and temp tracks to the custom sounds that turn a scene into a world; Nico and George break down when they write to picture and when they build suites in advance, how they bank ideas for later, and why sound design has become core to storytelling rather than a post‑production afterthought.

We dig into the tools that keep them fast and focused: Cubase for composition, Pro Tools for picture chase, and an iPad running TouchOSC to surface articulations and track groups at a tap. One bends a saxophone through Serum’s granular engine to craft pads and pulses you can’t buy in a pack—clean, licensable textures that stand out in a saturated market. The other anchors cues at the piano, moving quickly from harmony to emotion while staying out of the menu maze. Along the way, we talk about temp love, clearing samples, and how Extreme Music handles registrations and global royalty collection so the writing can stay front and centre.

Their paths show how education, mentorship, and humility shape a modern composer. Classical performance gave technique and taste; graduate training added hybrid orchestration and scoring workflows; assisting seasoned composers delivered the lessons that only deadlines can teach. The advice is candid: build a reel that proves your range, network with genuine intent, be the collaborator people want in the room, and treat your career like a marathon. Diversify across libraries, games, ads, and series, protect your headspace from social media comparison, and create sounds no one else owns. Subscribe, share with a composer friend, and leave a review telling us the ideas you've gained for your next cue.

https://bleedingfingersmusic.com

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Money changes the music you can make, and control changes the way you make it. I sit down with Duetti’s Head of Growth, Elliot Bahmoul, to unpack how music creators can sell a slice of their catalogue for upfront cash and pair that capital with genuine marketing muscle. Instead of waiting on a label advance, we explore how creators can fund albums, tours, and studio upgrades while choosing their own collaborators and keeping their options open.

Elliot breaks down why music IP has matured into a credible asset class, how streaming stabilised royalties, and why catalogue deals aren’t just for superstars. We dig into Duetti’s toolkit: building owned playlist networks optimised for Spotify search, running targeted Meta and TikTok ads that convert short-form spikes into streams, and using data to identify which tracks deserve spend. He also shares how genre-aware remixing—think Brazil’s baile funk—can reinvigorate catalogue songs and unlock regional growth that compounds over time.

Beyond funding, we talk brand building and the wider creator economy. With no-strings cash, artists can invest in products, content, and experiences that increase lifetime value per fan, rather than chasing short-lived playlist highs. We also look ahead: planning for AI voice models, derivative works, and long-term rights, so today’s choices support tomorrow’s autonomy. If you’re weighing a publishing deal, eyeing independence, or simply need a smarter way to finance your next move, this conversation offers clear, practical paths forward.

If this helped you think differently about music funding and growth, subscribe, share the episode with a fellow artist, and leave a quick review to support the show.

https://www.duetti.co

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Great music doesn’t have to start from scratch every time. We sat down with Ryan Dickinson, Creative Director at made by ikigai, to unpack how he creates brand-defining music for Adidas, Nike, Samsung, and beyond—without losing the human spark that makes a piece unforgettable. Ryan’s approach starts with clarity: deep questioning, grabbing storyboards, and, when possible, a quick call to surface what clients actually mean. Then he puts sound to picture early. By cutting rough edits that hit narrative beats, he replaces guesswork with evidence and turns subjective taste into a shared decision.

The heart of his system is a modern, composer-led production model. Instead of vanishing into playlist rabbit holes, Ryan works from a curated in-house music catalogue sourced from top composers worldwide. If a track fits, he adapts it. If it inspires, he briefs the same composer for a targeted custom version. That flexibility is a lifeline when more options are needed, timelines shrink, and teams still need music that feels intentional. It also keeps deals simple and fair: evenly splitting the licence fee with composers, recognising that half the value is the art and half is placing it where it belongs.

We also dig into AI—where it helps and where it falls flat. Ryan treats AI like a drum machine preset or a sample pack: useful for seeds, never the song. Taste, restraint, and curation remain the difference between generic and great. His next chapter focuses on giving the catalog its own brand and building tech that speeds up search and auditioning without diluting human craft. If you care about sonic identity, creative process, and fair outcomes for composers, this conversation offers practical ideas you can use today.

Enjoyed this conversation? Follow the show, share it with a friend who makes or licenses music, and leave a quick review to help more creators find us.

https://www.madebyikigai.com

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