In visual productions, the music supervisor usually works with the directors, writers or producers to choose which songs are best suited for the scenes.
Typically, a music supervisor proposes previously recorded songs to the director or producer of a film, advertisement, television show, trailer, promo, video game, or any other form of visual media.
[2] This position is most active within media-based industries, including live events, television, film, advertising, theatre, and video gaming.
Scores can range from the background to a dramatic scene to television bumpers – the music signifying leading into or coming back from a commercial break.
If creating new music, the supervisor may become responsible for additional roles, including securing artists or composers, facilitating the production and recording process, overseeing finances, and finalizing post-theatrical uses of the soundtrack.
Royalties for music placements are paid out by Performance Rights Organizations (such as ASCAP, BMI, and SESAC in the United States).
For example, music supervisors can be hired at an entertainment company as an “in house” staff member to manage the supervision for several projects (such as at an advertising agency).
Some supervisors are musicians, producers, agents, or managers – experience with the music or film/television industries is a strong background upon which to build.
[3] Author of Music Business Handbook and Career Guide David Baskerville notes "This is one of the few production specialties that has almost unlimited growth potential, because there [is] no universally accepted job description.
The proliferation of video technology has resulted in an increased demand for production companies needing to license music, and the field now accommodates many career professionals.
Salaries can range from $35,000 annually at a music supervision firm, to upwards of $250,000 for a freelance supervisor per feature film (Austin).
While staff jobs with a network, studio, or production company offer more security, the recognition and pay are significantly lower.
Despite the environment, a music supervisor should always work out a contract including expectations, responsibilities, and payment before beginning a project.
[2] The demand for music supervisors in the production process solidified in the 1980s, and has continued to grow with the popularity of media soundtracks.