PROJECTS.
Music shaped around what the project needs.
Original music, sonic branding and selected licensing for stories, brands, creators and formats. Always starting with what the music needs to make people feel and what role it needs to play.
WHAT I DO.
Different projects need music in different ways.
Sometimes the music needs to be created from scratch. Sometimes it’s about developing a sound people immediately connect with you. And sometimes the right music is already there.
Original Music
Music created for the project from the very beginning
Themes, cues and custom compositions developed around the story, the world and the role the music needs to play.
Sonic Branding
A sound that eventually just feels like it belongs to you.
Themes, sonic signatures and modular audio elements for brands, channels and formats that need a musical identity of their own.
Music Licensing
Sometimes the right song is already there.
Selected Josh Maccoy songs and music from my catalogue for films, videos and other visual projects. For those moments when the music and the story already feel like they belong together.
ORIGINAL MUSIC.
When the music really needs to belong to the project.
Some projects need more than a track that happens to fit. They need music that grows out of their own world.
Sometimes that becomes a main theme. Sometimes individual cues. Sometimes a whole musical language that runs through a format or story.
I write and produce the music so that it doesn’t just sound good, but actually does something in the right moment. It can carry, connect, signal, release tension or simply stay in your head.
SONIC BRANDING.
A sound that eventually just feels like it belongs to you.
The strongest musical identities don’t just decorate a brand, a channel or a format. They become part of how people recognise it.
Sometimes it starts with a main theme or a short sonic signature. From there, it can grow into a whole family of sounds that are clearly related but still serve different purposes.
Openings and closings. Stingers. Transitions. Shorter versions. Recurring motifs. Things that can be used flexibly while still feeling like they come from the same world.
For me, it gets interesting when those elements stop feeling like separate pieces and start to feel so natural that people instantly connect them with the format.
MUSIC LICENSING.
Sometimes the right music already exists.
A song or track can be created for one specific reason and still end up fitting a completely different story perfectly.
That’s what I find exciting about licensing. When an image, a scene or a moment reveals something in the music that maybe wasn’t obvious before.
Selected songs and tracks from my catalogue are available for films, videos, campaigns, creator content and other visual projects.
For me, it’s not about forcing a track to fit.
It’s about finding the moment where music and image give something to each other.
SHOWCASE.
Music for animated worlds.
Family Animation Music Package
A modular collection of original music for family-friendly animation, episodic storytelling and creator formats.
Built around the question of how to create a musical world that can work across many different scenes while still sounding like it belongs to the same series or format.
That takes more than a strong main theme. It takes music for characters, emotional moments, comedy, transitions, little reactions and all those short situations that constantly come up in the edit.
PACKAGE SHOWCASE.
8-cue music showcase
Eight short examples of how different musical functions can belong to the same world.
Main Theme · Closing · Light Stinger · Quick Transition · Comedy “Uh-Oh” Stinger · Warm Reflective Cue · Upbeat Stinger · Scene End Button
Made for recurring formats
Music that works across episodes, characters and recurring story situations.
Built for flexibility in the edit
Variants and structures that can adapt to different scene lengths, pacing and emotional turns.
One musical world
Different moods and functions that still clearly belong together.
Looking for a musical world of your own for your series, channel or format?
THE PROCESS.
First understand what the music needs to do. Then decide how it needs to sound.
Understand → Direction → Music → Delivery
Every project is different. But I almost always start in the same place.
First, I want to understand what it’s really about. What world is already there? What emotion carries the project? What role does the music need to play? And what needs to be possible with it later on?
From there, the musical direction starts to take shape.
Then it’s about writing, producing, trying things out and refining them until the music doesn’t just work on its own, but really belongs to the project.
How extensive that process needs to be depends on the project. Sometimes the path is very direct. Sometimes it takes several rounds, different versions or a whole musical system.
What matters to me is that the decisions don’t happen by accident.
DELIVERY.
Music has to work outside the studio too.
A finished track isn’t automatically a finished delivery.
Depending on how the music will actually be used, a project might need different lengths, alternate versions, stems, edits, loops or other assets that make life easier in the edit and in production.
So I don’t just think about how the music sounds. I also think about how it needs to work once it leaves the studio.
Which versions are actually useful? What needs to stay flexible? Which files and formats will make things easier for the team?
Rights and usage are defined around the needs of the project too, instead of forcing everything into one fixed package.
HAVE A PROJECT?
Tell me what you’re working on.
If you’re working on a project, format or idea, tell me what it’s about, where you are in the process and what you want to create.
You don’t need to know yet what the music should sound like.
We can start with the project itself. The story, the world, the feeling or the role the music needs to play.
We’ll find the sound from there.