home        episodes        media        4-1-1        schedule        banners        more        contact

1 Raindrops Keep Falling on My Head 2 Enough is Enough (No More Tears) 3 Make Me Lose Control 4 Deny Deny Deny 5 Bring the Pain 6 Into You Like a Train 7 Something to Talk About 8 Let it Be 9 Thanks for the Memories 10 Much Too Much 11 Owner of a Lonely Heart 12 Grandma Got Run Over by a Reindeer 13 Begin the Begin 14 Tell Me Sweet Little Lies 15 Break on Through 16 It's the End of the World 17 (As We Know It) 18 Yesterday 19 What Have I Done to Deserve This? 20 Band-Aid Covers the Bullet Hole 21 Superstition 22 The Name of the Game 23 Blues for Sister Someone 24 Damage Case 25 17 Seconds 26 Deterioration of the Fight or Flight Response 27 Losing My Religion

main talk back - recap - promoquotes - music - writer's blog 

thanks to
ABC.com
music supervisor
Alexandra Patsavas


web tracker

Catch My Disease
Ben Lee
New West Records
Ramalama (Bang Bang)
Roisin Murphy
The Echo Label
I Fought The Angels
The Delgados
Chemikal Underground
Infinity
Merrick
Bryony


In the last Blog, I focused on my steps in becoming a music supervisor (that being said, all the music supervisors I know come from different backgrounds in the music biz including radio, publishing, journalism and fronting signed bands). This week I want to talk more about what a supervisor actually does when one is lucky enough to work on a show like Grey's Anatomy.

After working extensively with the exec producers to define a signature sound (chronicled by Shonda Rhimes and Betsy Beers in the Grey's Anatomy Soundtrack liner notes), my office sends weekly compilation CDs ("comps") to the producers and incredibly musical editors (Briana London, Edward Ornelas and Susan Vaill) so there is always new material to listen to and hopefully be inspired by. I get CDs sent to my office from managers, record labels, publishers and film/reps from all over the world& We try to listen to everything and send the best on the comps. After songs are carefully selected for each episode, the legal work begins. We then get permission to use each track approved by the publishers and master holders -- these requests include exact timings and scene descriptions so the artists know exactly how their composition is being used. After a flurry of correspondence, we try to clear all the tracks on budget in time for the pre-scheduled mix date.