Music Supervision 2


Authored by Brad Hatfield


Course Code: OMBUS-497

Next term starts January 13, 2020

Level 4

Level 4

3-Credit Tuition


Non-Credit Tuition


Building on the essential skills acquired from Music Supervision 1, students will continue to expand their fluency in music supervision by analyzing the use of music in montages, main titles, end credits, trailers, video game promos, and advertising. Students will also learn more advanced music editing techniques working with stems as well as mixing techniques to alter audio in order to make a more convincing live sound for source music usages.

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The course contains exclusive interviews with award-winning music supervisors, sound and music editors, publishers, producers, engineers, and other music industry executives, including music supervisor Thomas Golubić (Breaking Bad, Better Call Saul, Six Feet Under, Ray Donovan), composer Jeff Beal (Ugly Betty, House of Cards, Rome, Grand Hotel), trailer music supervisor Vanessa Jorge Perry (Sideways, Lord of the Rings, Harry Potter), video game producers, music supervisors, editors, licensing experts, Emmy-winning showrunners, and award-winning soundtrack producers.  

In addition, students will create and replace temp tracks, design and budget for a soundtrack, acquire effective negotiating techniques through live negotiations, and work on longer media forms while conforming to critical feedback. Students will review and create agreement templates for composers, songwriters, publishers, and master owners in a variety of licensing and buyout scenarios. 

The final project will consist of music supervising a full-length TV show with commercials and will stress creative excellence and open communication between the production side and the creative side through a team-based approach. At the conclusion of the course, students will research opportunities in the field of music supervision for future employment and opportunities.

By the end of the course, you will be able to:

  • effectively “spot” scenes and longer forms for music needs
  • build and replace a “temp” track
  • work effectively with your DAW to achieve desired audio results
  • design and budget for a soundtrack/compilation release
  • negotiate win-win outcomes while building and maintaining relationships
  • communicate effectively with a variety of production stakeholders
  • respond to critical feedback and adjust your work in a timely fashion
  • work as a production team member
  • customize composer, publisher, and master owner license agreements
  • discover unique work opportunities for music supervisors
  • get started as a music supervisor
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Overview Syllabus Requirements Instructors
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Lesson 1: It’s Show Time!

  • Choosing Preexisting or Custom Composed?
  • TV Theme Songs
  • News, Sports, and Radio 
  • Animated Series (Children and Adult) 
  • Motion Pictures
  • Assignment 1: Add Music to Opening Credits

Lesson 2: Get Your Edit On!

  • Snippin’, Splicin’, and Slidin’!
  • Mixers, Effects, and Automation
  • Music Editing Using Alternate Mixes
  • Music Editing Using Stems
  • Assignment 2: Remix Using Stems

Lesson 3: Featured Songs

  • Montages 
  • TV Promos, Teasers, and Trailers
  • Video Game Cinematics
  • Film Trailers
  • End Credits (TV Series and Film)
  • Assignment 3: Add Music to Picture

Lesson 4: Soundtracks

  • Types of Soundtracks/Compilations
  • Who Ya Gonna Call? Rights Owners!
  • Budgeting and standard practices for licensing
  • Demographics:  Who is Going to Buy This?
  • Assignment 4: Build a 10-Song Soundtrack/Compilation

Lesson 5: Licensing and Contracts

  • Tiered Master Use, Sync, and Performance Licensing
  • Blankets, Business Music, Training Videos, Live Event and Streaming, VR
  • Music Supervisor contracts
  • Composer Contracts
  • Assignment 5: Create License Requests 

Lesson 6: Time to Negotiate!

  • IBN: Interest Based Negotiations
  • The Negotiation Process
  • Assertiveness and Qualities of an Effective Negotiator
  • Negotiating Criteria for Songs and Score in Film/TV/Ads, Use of MFN
  • Assignment 6: Enter into a Negotiation

Lesson 7: Negotiation Part 2 – Hardball, Ethics, Teams, and Gender

  • Hardballing Tactics
  • Ethical Reasoning
  • Multi-Party and Team negotiating
  • Men, Women, and Power
  • Assignment 7: Conduct the Negotiation

Lesson 8: Temp Music

  • The Rise of Temp Music?
  • Temp Music in Film
  • Temp Music in TV
  • Temp Music in Ads
  • Assignment 8: Analyze Temp Music in a Clip

Lesson 9: Music in Advertising

  • Hierarchy and Production Flow
  • Brand
  • Demographics
  • Artists and Licensing Costs
  • Assignment 9: Combine Song to an Ad

Lesson 10: Showtime! (Final Project)

  • Spotting Notes for Each ‘Section’ of the Project
  • Communication, Setting Deadlines, Assigning Tasks and Deliverables
  • Organizational Tools, Sharing, Budgeting, and File-Naming Conventions
  • Online Storage and Backup Strategies
  • Assignment 10: Choosing Songs for Scenes

Lesson 11: Revise and Update!

  • Production Flow and Taking Direction
  • Covering Your Bases
  • Interactions and Dynamics in Post-Production 
  • Fine Tuning the Budget
  • Assignment 11: License Proposals

Lesson 12: Final Project Submission/Get Started

  • Getting Started: Stories from the Post-Pro Trenches!
  • Career Advice from Industry Experts on Longevity in the Career
  • Career Advice from Industry Experts
  • Master/Sync Documents
  • Assignment 12: Final Project Submission


Prerequisites and Course-Specific Requirements 

Completion of Music Supervision, or equivalent knowledge and experience is required. Completion of Music Business 101,  Music Publishing 101, Music Licensing, Copyright Law, and Songwriting for Film and TV is recommended. 

Students should be able to:

  • Describe the basic concepts of copyright, licensing, publishing, and desktop production skills

Required Textbook(s)

Software Requirements

  • A program that can combine the audio you select with the supplied video files.
    • Examples for Mac: iMovie (free), GarageBand (free), Final Cut Pro, Shotcut (free), etc.
    • Examples for Windows: Shotcut (free), Vegas Movie Studio, AVS Video Editor, etc.
  • A program to capture in-browser audio. Chrome Audio Capture (free) extension recommended.
  • Software to open Microsoft Word and Excel files, such as Microsoft Office, Apache OpenOffice (free), or Google Drive (free).

After enrolling, please check the Getting Started section of your course for potential deals on required materials. Our Deals page also features several discounts you can take advantage of as a current student. Please contact for any questions.

General Course Requirements

Below are the minimum requirements to access the course environment and participate in live chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

Mac Users

PC Users

All Users

  • Latest version of  Google Chrome
  • Zoom meeting software (available in the course when joining your first chat)
  • Webcam
  • Speakers or headphones
  • External or internal Microphone
  • Broadband Internet connection




Brad Hatfield is a Boston-based Emmy award-winning composer, keyboardist, arranger, orchestrator, and award-winning educator. Writing and producing songs in a variety of genres, Brad's works have been heard internationally through repeated placements in film (Borat, Iron Man 2, Analyze This, The Break Up), and TV shows/promos (Friends, CSI, NCIS, Saturday Night Live, American Horror Story, The Sopranos, GLEE, The Good Wife), just to name a few. Brad served as co-composer for the FX series Rescue Me, and is currently composing for the CBS daytime drama The Young and the Restless, where he has annually received Emmy nominations in 2015 through 2019.

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As a keyboardist, Brad has performed and recorded regularly with the Grammy nominated Boston Pops since 1990 under John Williams and Keith Lockhart. He has accompanied artists including James Taylor, Bono, Martina McBride, Patti Austin, Guster, Audra McDonald, and Kenny Loggins. The Boston Pops has commissioned Brad to orchestrate for a variety of artists including Demi Lovato, Darlene Love, Kristin Chenoweth, and Susan Tedeschi.

Brad has also toured internationally with jazz artists performing at major festivals (North Sea, Montreal, Perugia) and well-known venues (The Blue Note, Birdland, Ronnie Scott's). Brad appears on dozens of recordings ranging from Jazz to Americana, and was the featured piano soloist with the Boston Symphony Orchestra for Clint Eastwood’s Mystic River soundtrack.

Brad received the 2012 UPCEA "Best Online Course" award for his Berklee Online Music Supervision course, and also won the 2014 UPCEA "Excellence in Teaching" award for his work at Berklee Online as a facilitator of his Music Supervision and Songwriting for Film and TV courses. Brad holds a graduate degree in Management from Cambridge College.

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