Born in Detroit, Emmy-nominated composer Jeff Sudakin studied classical piano as a child, eventually giving up formal instruction in favor of writing and playing his own music.  After playing in a number of bands garnering some local popularity, he moved to Los Angeles to further his musical pursuits.  

While working as a staff engineer at a busy recording studio for a number of years, Jeff found that his clients appreciated his musical talents in addition to his technical abilities.  He commenced writing a number of dance music tracks and remixes through the ‘90s, as well as producing a huge number of rock, pop, hip hop, and 'other' tracks for various artists.

During this time, Jeff also began to compose music for television commercials, which led to other music and sound-for-picture work.  To date, he has scored hundreds of episodes of network television, U.S. and international ads for such clients as Nike, Microsoft, Coca-Cola, and Honda, web series, ID’s and audio badges, and films both short and long.  Jeff’s breadth of professional experience in music, film, and television lend him the ability to understand the unique musical needs of each project he takes on, and to work with its creators to complete it in the most compelling way possible.


“...shmilosophy”, says Jeff.  “I like going big, and I like being minimal.  Strong, Sturdy melodies, and abstract atmospheres are all good.  I like to think I cover them all effectively.  The only ‘rule’ is that whatever I do is dependent on the message of the picture.”

Jeff’s varied musical vocabulary allows him to work easily in many different styles, while always concentrating on what’s most important:  Keeping the focus in the proper place, and being an inherent part of the picture. 

“The music selections I’ve put on my web site, for example, make it difficult to pin me down stylistically”, says jeff.  “And I consider that a good thing.  What’s important is that I’m always looking out for the picture, rather than for myself and some concocted notion of who I’m supposed to be.  It’s bad-enough composers get type-casted by others, they shouldn’t fall into that trap themselves!”

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