Music Supervisor // Film + TV

States of Sound, London

As a music supervisor and consultant, Aminé Ramer has influenced the sound and mood of feature films, documentaries and award-winning television series for over a decade. Ramer’s success can be attributed to her careful selection of significant artists, ranging from the unknown to the popular, and her keen sensibility to create a visceral experience by connecting sight with sound.

A native of Auckland, New Zealand, Ramer credits her career path to her upbringing in an environment that encouraged the development of individuality and seeking out the new rather than following trends.

Credits include Flint TownThe Most Hated Women In America, Finders Keepers, The Signal, The November Man, Faking it, Richard Pryor: Omit the Logic, The Lovers and The Despot and The Honor List.

 Over to Aminé…

January 2019

Can you tell us a bit about your musical background and how you got into the music business?

I started as a booking agent then to manager then back to booking agent, then I decided I wanted to be a music supervisor. After working with another supervisor I went out on my own and am happy to say that ten plus years later I am still super happy that I am a music supervisor.

What has been your favourite project that you’ve worked on recently? And has there been a most challenging one? 

Flint Town (Anonymous Content/Netflix) and The Honor List (Lionsgate Digital). All projects have their challenges, none of which it’s wise to talk about publicly :) 9/10 times it is working within a small budget and having to manage expectations.

What’s your usual process for finding music and how do you organise and keep track of all the music you collect? 

I start with spotting the project. Once I’ve come up with a list of scenes I set about figuring out the emotional tone and pace that the music should convey (this is in conjuction with the director or producer). I then compile a list of ideas from my mind using my own music database (DISCO is the platform I use to organise my music). Once this has been sent off for feedback to the director I will continue to look and perhaps send out briefs to people I know who will have what I am looking for. I want 320s and MP3s sent in a link, not as attachments, and it’s great if I am also being sent DISCO links, which make it easier to include the metadata and can be sent directly to my DISCO in-box.

How are you sure to get to the crux of what a director is looking for?

Communication is key. Finding out what emotion they are trying to convey for each place that has been agreed needs music. Then you can narrow it down to what genre and style may work with the picture. It is a process of presenting options within the emotional palate that’s being sought or a counterpoint, should it be required.  

Have you noticed any particular licensing trends in recent years?  

Budgets are getting smaller and we are being asked to get more rights for less money...However quality over quantity is still sought after and I am glad that hasn't changed.

What advice would you give artists these days on getting their music placed?

Find a third party agent that has great relationships within the industry as most supervisors go to trusted sources when issuing briefs. It is a much easier climb to become part of a company that already has those relationships than reaching out to each supervisor directly. 

And lastly, how do you think a competition like The Music+Sound Awards impacts the industry? 

It is good to have awards for excellence within each segment of the industry. It helps raise awareness of how many specialized areas there are within the music industry.

Find out more about Aminé and States of Sound on their website, here