Published by: New Music Scotland

Our third Peer to Peer session of 2026 brought together NMS members to explore writing music for film, television, games and other media. Led by composer David R. Simpson, the session covered the practicalities of working with directors and producers, developing music for a brief, finding work and understanding the different ways composers get paid.

David has worked extensively in television, particularly animation and comedy, as well as on film and video game soundtracks. His recent work includes the BBC sitcom Here We Go. He has also worked with the band CHVRCHES, and on video game soundtracks including Death Stranding, Forza and FIFA.

The session combined an introduction to the process of composing for media, a case study from David's own work, and discussion with members about the opportunities and challenges involved.

Working with a brief

David began by talking through the process of composing for a production, from the initial approach through to delivering the finished music.

The starting point varies considerably. On a short film, a composer might work directly with a writer or director who has a clear idea of what they want. Larger television productions may involve several people in commissioning decisions, with composers asked to submit demos alongside other candidates.

A few practical points from this part of the session:

• Get something to work from. Ideally this means a rough cut of the film or programme, although scripts and other material can be useful at an earlier stage. Timing and the relationship between music and picture are fundamental to the process.
• Pay attention to temporary music. Editors often use existing music to establish the pace and feel of a scene. David generally takes this seriously, particularly the timing, even when developing quite different musical ideas.
• Ask what people like about their references. A director might provide a playlist or name particular artists, but it isn't always obvious which elements they want to draw on. Sometimes what appeals to them is the lyrics rather than the music.
• Offer different approaches. David often prepares three short demos, typically between 30 seconds and a minute each. One follows his initial instinct, another responds more closely to the brief, and a third develops or combines ideas, or tries something different.
• Clarify the emotional intention. During a 'spotting session', the composer and production team work through where music is needed and what it should achieve. David recommended asking directors for three adjectives to describe the intended feeling of a cue, rather than relying on broad descriptions such as 'happy' or 'sad'.

Once an approach is agreed, the composer develops a first draft and works through revisions with the production team. David usually anticipates two or three rounds of revisions, although in practice this varies considerably.

He also emphasised the importance of building good relationships with post-production audio teams. Delivering well-organised material in the formats they use makes their work easier, and these teams can become an important source of recommendations for future projects.

Case study: Light Up

David shared an example of his work on Light Up, a short animated film about a mountaineer whose experience on a mountain prompts reflections on his life.

He played three initial musical demos before showing the finished film, explaining how the ideas developed through conversations with the director.

One of the interesting questions was how to suggest a particular place or atmosphere musically without being too obvious about it. The three demos drew on quite different influences, including Sibelius, Andean music and post-rock, while exploring ways of suggesting a cold, mountainous landscape.

David also discussed the difference between writing music intended to stand alone and writing for media. Originality is often a central concern in concert music, whereas a film score sometimes needs to draw on familiar musical ideas and associations to communicate something quickly to an audience.

The finished score brought together elements of the initial demos, using a recurring musical motif to create continuity across the film. David suggested that motifs can be useful, but that in a short film it is often better to concentrate on a single important musical idea rather than trying to attach themes to every character or situation.

Finding work

The session then moved on to the less musical, but equally important, question of how composers find work.

David was fairly sceptical about responding to open callouts on social media, particularly where large numbers of composers are competing for the same opportunity. In his experience, most work has come through personal recommendations and relationships developed over time.

His advice was to spend more time getting to know people working in film, television and games, rather than concentrating exclusively on networking with other composers.

Some suggestions included:

• Attend film festivals, industry conferences and games events where you are likely to meet directors, producers and developers.
• Look at attendee lists in advance and contact people whose work genuinely interests you. Arranging a coffee and a conversation beforehand can make networking events much more useful.
• Keep in touch with people you meet, particularly when they announce new projects or share work that interests you.
• Consider participating in 48-hour film projects or game jams. These offer opportunities to collaborate, develop experience and get to know people working in other disciplines.
• Build relationships rather than immediately trying to sell your services.

David also talked about the role of promotional materials. He recommended having a short showreel that quickly demonstrates your experience, alongside a wider selection of work for people who want to explore your music in more detail. He also felt that a straightforward website under your own name remains useful, particularly for helping people find you after meeting in person.

Getting paid and understanding royalties

David outlined several sources of income that composers working in media should be aware of.

An upfront synchronisation, or 'sync', fee is generally paid for the right to use music in a production. Depending on the work and how it is used, composers may also receive royalties.

The discussion covered PRS for Music, MCPS and PPL, and the different rights and income streams associated with each.

David particularly encouraged members to investigate whether they are eligible to join MCPS, explaining that this had provided a significant additional source of income from his own television work. He also recommended checking whether recordings should be registered with PPL, and whether there may be neighbouring rights income to collect internationally.

The different rights can be complicated, particularly when music is used in other countries, but the main point was to make sure you understand what you are entitled to and are not missing potential income from work you have already completed.

Discussion with members

The final part of the session opened up to questions and discussion.

Getting started with software and samples

One member asked about the cost of the tools needed to compose for media, particularly sample libraries and the rights associated with using them commercially.

David explained that the range of free software and sample libraries has improved enormously, and that it is possible to get started without making a major investment in equipment. He encouraged composers to work with the strengths of the sounds they have available, rather than assuming that expensive libraries will necessarily produce more convincing results.

Working across musical styles

Another question concerned how composers can respond to briefs that ask for music outside their usual area of expertise, or combine apparently contradictory musical references.

David discussed the value of analysing reference tracks closely, looking at their production, instrumentation, arrangement and harmony to understand what makes a particular style recognisable. This can provide a starting point for developing something new that responds to the brief while drawing on the composer's own musical experience.

More broadly, he talked about deliberately listening to music outside his own tastes and areas of expertise, and analysing what makes different genres work. For his own career, being able to write convincingly across a wide range of styles has been particularly valuable.

Further learning

David finished by mentioning a new online foundation course in film scoring at the Royal Conservatoire of Scotland, planned to begin in January 2027. The course will explore areas including harmony, musical motifs, production and sound design, with opportunities to work on scoring exercises and discuss participants' own compositions.

Resources mentioned

• Surround Sound: The Stories of Movie Music by Mark Kermode, recommended by David during the session.
• The Royal Conservatoire of Scotland's forthcoming online film scoring course.

Thanks to David for sharing his experience and to everyone who joined the session and contributed to the discussion.