Music Composition & Scoring

Our composer network in Tokyo, Osaka, and Kyoto spans classic orchestral writers, new-school electronic producers, and hybrid scorers. They move with ease between live ensemble and virtual instruments.

We line up scoring sessions at live rooms in Tokyo, and overflow runs through Sony PCL and NEP. Chamber and small-ensemble work covers studios in Osaka and Yokohama. Each job starts with a spotting session against picture. We review theme work in demo form, then score it cue by cue once the direction is locked.

The brief might call for a sparse Kyoto chamber piece, a dense Tokyo neo-noir score, or a sweeping orchestral statement for a Hokkaido drama. We tune the format to fit. Rights transfer is simple, since our standard deals hand full publishing and mechanical rights to the production. Full cue sheets and registration forms ship with the mixed stems.

We work to picture lock or handle editorial changes across the run. To fit any budget without losing quality, we balance live recording with virtual instruments. You get an original score that syncs frame-true, fits the dub stage's 5.1 or Atmos mix, and gives your story its own clear musical mark.

Music stems arrive ready for whatever release chain the project needs. We deliver mixed cues that fold into NHK 4K and 8K masters, TBS and Fuji TV carriage, and Netflix Japan packages. Turnaround tracks the scope. A short cue set turns in days, while a feature score usually books four to eight weeks from spotting to final delivery. We agree a firm schedule against picture lock before writing begins.

Scoring dates book around Japan's calendar, with live-room and player time held clear of Golden Week and Obon when availability tightens. Session hours follow the Japanese Labor Standards Act. Quotes are framed in yen, with the ten percent consumption tax listed on its own line. Our team carries creative notes, demo reviews, and sign-off in both English and Japanese, so overseas directors shape each cue without a language gap.