Mike Thompson
MuseScore Maestros: Mike Thompson the Jazz ...

Bold Journey Magazine – Meet Mike Thompson

We recently connected with Mike Thompson and have shared our conversation below.

Mike, so happy to have you with us today. You are such a creative person, but have you ever head any sort of creativity block along the way? If so, can you talk to us about how you overcame or beat it?
I’ve frequently struggled with writers block, especially when I first started out. But, I’ve found a pretty effective way to mitigate it significantly. The more frequently and consistently I write, the less I encounter writers block. When I’m experiencing writers block, I make myself write something. Even if it’s not good material, the act of writing really opens my mind, and eventually the material get’s better. Part of that consistency is developing a writing schedule, even a flexible schedule. I start my day answering emails, and then I write something – anything. The rest of my day could go in 100 different directions, but at least I’ve written something. I may never use that material, it may not be good. But I’m exercising the creative muscle, and to me, that’s everything. Creativity is a habit; and just like any other habit, if you fall out of it, it becomes much more difficult to get back. I also find it useful, when things are too routine (usually when I’m writing a lot, and have run out of “ideas”), to change up my environment. I”ll leave my studio, take a laptop or sketch pad to a coffee shop, and see what happens. Regardless, I think the best way to beat writers block is to force yourself to write!

Thanks, so before we move on maybe you can share a bit more about yourself?
I wake up every morning grateful that I get to do what I do for a living. Both as a composer and arranger, and as a producer, I have the unique opportunity to work with so many talented and amazing people making music. Most of my work as a composer and arranger can be a really lonely experience. Until a given piece is done, I’m sitting alone in my studio trying ideas and attempting to solve the puzzle that is music. Working as a producer brings a breath of fresh air to my working life – a consistent stream of collaboration – and remains a constant source of inspiration for my concert music.

I’m finishing up some music for an upcoming album, my first album as an artist with my own big band music. I’m really excited to get in the studio with my band next month and share this music with them, and eventually with the world! That album is set for release this summer.

There is so much advice out there about all the different skills and qualities folks need to develop in order to succeed in today’s highly competitive environment and often it can feel overwhelming. So, if we had to break it down to just the three that matter most, which three skills or qualities would you focus on?
Working in the music business requires a broad range of skills, many of which have nothing to do with music. I was lucky enough to start having already acquired some of these skills, and had even more imparted on me by my veritable mentors – many of whom had to learn these things the hard way: on the job.

This isn’t a comprehensive list, by any measure, but these skills have certainly given me an advantage:

Business Skills – It’s been essential for my career being able to operate appropriately and professionally in various business environments. Whether it be the “business lunch”, meetings, prompt and professional correspondence, or efficient bookkeeping, having these skills have certainly created opportunities for me that I wouldn’t have gotten otherwise.

People Skills – Whether working as a composer, arranger, or producer, having strong people skills has always been an asset. Communicating with people is my job, music is sim-ply the medium. THere’s not much more intimate than collaborating with someone, especially with their art. It’s exceptionally important to tread carefully, read the room, and always bring compassion.

Literacy in Other Art Forms – If you spend all day every day thinking about, talking about, and making music, it’s very useful to find parallels between what you’re doing and other forms of art. Whether it be for my own process, or for communicating with others, being able to compare what you’re trying to accomplish to other art is often (counterintuitively) the most effective way to communicate a given idea. It cuts through all of the technical considerations and get’s straight to the core of an idea. Watch movies, read books, visit museums, look up at the buildings around you; engage with art.

The best recommendation I have for anyone working in the music business is to study as much music as you can, no matter the style. Music is music, and you never know what will come in handy. Always: be hind, be courteous, be generous, be humble, be grateful, and make music.

Is there a particular challenge you are currently facing?
Right now, I’m finishing a lot of music for my album recording session, and as a result I’ve written a lot of music. But that means I have to choose what pieces I want to record, which is a very difficult proposition. In a perfect world, I could record everything – but the world is far from perfect, and I have to choose what to leave off the session. This requires some serious objectivity on my part, and as many artists know, it’s really challenging remain objective with your own art. Luckily, I have a great team of people who I trust deeply that can help me see clearly and make the right decisions, when I otherwise may not.

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MuseScore Maestros: Mike Thompson the Jazz Innovator

Meet Mike Thompson, a Boston-based music maestro and co-founder of Hexproof Productions. A seasoned jazz composer, arranger, and music producer, Mike fuses the expertise he gained from Berklee College of Music with a deep passion for developing emerging talents. Join us as we explore his transformative journey, shaping the sounds and careers of artists across genres in the ever-evolving landscape of music production and composition.

WHAT LED YOU TO A CAREER IN MUSIC?

I've always been drawn to music for as long as I can remember. When I was young, whenever a piano was around, I would sit down and try to plunk out a tune. Then, my aunt gave me an old Yamaha keyboard for my birthday one year, and the rest is history! I would try to play along with the radio or one of my parents' CDs, and they figured it was a good idea to get me started with lessons, and I haven't looked back since. I was always interested in pop and classical music, and I think that's a massive part of why I later became an arranger.

WHO WERE SOME OF YOUR EARLIEST MUSICAL INSPIRATIONS? HOW HAVE THEY SHAPED THE MUSIC YOU WRITE?

‍When I started composing, I was immediately drawn to the music of Duke Ellington — the beautiful and nuanced textures, the importance of "the line," and the apparent thought that went into every note captured my attention. As someone who grew up as a classical musician, Duke's music was always accessible and never alienating. I was then introduced to the music of Bob Brookmeyer, and from there, everything changed for me. Bob's music is so intricate and deeply human, constantly pushing the boundaries and expectations of the big band. Through listening to Bob's music, I connected mid-20th-century large ensemble music and 20th-century classical music —two different musical styles from two different traditions, converging similarly at a similar time. I've found that once you're freed from the boundaries and expectations of genre or style and begin to see them as different aesthetic choices, that's where the creative possibilities really lie.

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YOU OFTEN WRITE MUSIC ON THE ROAD. WHAT ARE THE CHALLENGES AND BENEFITS OF COMPOSING ON THE GO?

The biggest challenge I faced was the efficiency of my writing process. If you're writing an arrangement on an airplane or in a coffee shop, you can't get lost in the periphery around you, whether that be the noise of your own mind or the world. I became increasingly decisive about what was right or wrong in a given musical situation, and I began trusting my decision-making even more. Now, it feels like writing one piece on the road is equivalent to writing three pieces back at my studio from a proficiency perspective. When traveling, I learn much more about myself, my music, and my tools. Even now, I'm getting ready to head to Indianapolis for a few days for a convention and have a pretty heavy arranging workload, and I'm looking forward to it!

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HOW DO YOU APPROACH ARRANGEMENTS, FROM THE STARTING POINT TO THE FINAL PIECE?

I start by writing a "word sketch" of the arrangement. This is where I ask: What happens when? How long will the arrangement last? What kind of treatment will I use for the arrangement (or even different treatments for different sections)? Is there a solo, and who's taking it? And (most importantly), what will the energy curve of the arrangement be? Then I write a "lead sheet," essentially a sketch for my chart, including all melodic and harmonic material, all connected with an orchestration label (trumpets play this, bari sax and bass trombone take this, etc.). I was first exposed to this process by Steven Feifke, who is a close mentor of mine. I then orchestrate, edit, and finally engrave that sketch. I try to get as many ideas down on paper in that sketch as possible, and then I make thoughtful decisions about where everything should go.

DO YOU HAVE ANY ADVICE FOR COLLABORATING WITH OTHER MUSICIANS AND COMPOSERS?

Leave your ego at the door, and treat every initial idea as viable. It's easy to let your ego take over or edit an idea to death before you even begin. I've found success separating the "initial ideas" phase from the "editing" phase, and that's even more useful in a collaborative environment. As time allows, try everything and see what works. If you're in a collaborative environment where respect is shared, you've got a head start!

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WHAT'S THE MOST UNEXPECTED THING THAT'S EVER INSPIRED YOUR COMPOSITION OR ARRANGEMENT?

I had just finished watching the classic Mel Brooks film High Anxiety, which has a really beautiful scene in which Mel's character is singing in a bar (the song "High Anxiety," in fact!), which has a beautiful arrangement in its own right by Brooks' storied collaborator, John Morris. I think that's the only time I've been inspired by a satirical comedy to write an arrangement! (Aside from all other Mel Brooks movies, of course!)

HOW DO YOU SEE DIGITAL TOOLS LIKE MUSESCORE 4 IMPACTING THE WORKFLOW OF COMPOSERS?

Regarding MuseScore 4, we're now in a time where someone can prepare a publishing-ready score with no up-front investment in software (with the appropriate skills and experience, of course!), which is a real game changer. When I started to write, I only had a few options, and anything capable of scoring for a large ensemble was expensive. I started on a computer that my school's music department owned until I saved up for my own license. Now, a young writer can download MuseScore 4 and access a strong engraving and composing suite and super high-quality sounds, all free and lightweight enough to run on the average computer. I expect we'll see even more scores from very young composers making their way to MuseScore.com and, hopefully, their local concert hall. The only way to improve as a writer is to write more and listen more. MuseScore 4, StaffPad, and other technologies in our industry are rapidly lowering the barrier to entry each day.

For music technology as a whole, I think that we will see the roles of "producer" and "composer/arranger" becoming more and more similar, especially regarding live performance. Performer-triggered samples are already a mainstay in pop and contemporary music arranging, and I think we'll see that trend continue into the future. We have so many tools available today, and more emerge every year. I'm excited to see where it goes and where the technology will lead us next!‍

YOU'VE VENTURED INTO MANY MUSICAL TERRAINS, FROM JAZZ TO CONTEMPORARY. WHAT'S NEXT?

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I'm considering recording an album of Stephen Sondheim's music with a big band and vocalists, a project I'm deeply passionate about. Sondheim's music is some of the most innovative music I've heard, and I think it has a place in the concert hall just as it does in a Broadway house. But it's important to note: I have no idea what's next, and I'm excited to find out!

ARE ANY CONTEMPORARY COMPOSERS OR MUSICIANS CURRENTLY INSPIRING YOUR WORK?

Oh my, too many to list! But I'm fortunate that many of the people who inspire me are people I have great relationships with, notably Nicholas Urie, Ayn Inserto, and Steven Feifke. I met Nicholas before I'd ever written a big band chart, and they changed the way I thought about the fundamentals of music—not only technique but specifically how I listened to music and what the purpose of an arrangement really is.

Ayn saw me through my developmental phase as a jazz composer, writing bad chart after bad chart, and one day she said, "This one, you've got it!" and that changed everything for me. She also encouraged me to explore the music of Bob Brookmeyer and helped me make sense of what I was hearing, a sound that has influenced every note I've written since.

I was introduced to Steven Feifke through Nicholas Urie not too long ago, and he changed how I thought about my career and business. He helped me develop a systematic approach to writing for any large ensemble and has forever changed how I write. I recommend everyone check out all of their music. They're all next level!

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FINALLY, WHAT ADVICE WOULD YOU OFFER ASPIRING COMPOSERS IN THE MUSESCORE COMMUNITY?

Keep writing! The only way to get better is to write a lot of music. If you write something and you're not happy with it, fix it, sure, but I think it's better just to write something else and improve from there. Don't get caught up in the music you've already written; look for the music you still need to write. The rest comes along the way.

Hyperfresh – Mike Thompson Helps Artists With Their Vision

Mike Thompson is a dedicated musician, arranger and producer with a diverse background. He is the founder of Hexproof Productions, which is his outlet to help artists and assist talented musicians in the process of genuinely unfolding their skills and vision.

Most artists venture into their creative journey on their own, and it is always a good idea to learn the ropes of recording yourself, and generally speaking, embrace some DIY ethics when starting. At times, artists find working with an external producer exceptionally valuable in their career.

A producer is someone who can help artists see things from a different perspective, and it can be conducive because it is pretty easy to get stuck in your head when you’re so close to a project. At times, being so involved means that it can be pretty challenging to get a good look at what you’re doing. Someone like Mike Thompson can help aspiring artists refine their formula and reach new creative heights with their music.

There is something quite special about having the right team player beyond you, and Mike can be that person for your music.

Hip Hop Since 1987 – Mike Thompson’s Innovative Approach to Production is Turning Heads

Many of today’s aspiring artists on the scene might not fully grasp the importance of production and what thinking about it can do for your music. Production is essentially the idea of setting the bar higher in terms of sounds, arrangements, and musicianship. A good producer is almost like a coach for an artist, and they could help the performer take it to the next level. Mike Thompson is one of the most buzzed-about producers in recent times, and his innovative approach to music production is making waves in the industry. Mike is the founder of Hexproof Music, a company dedicated to supporting aspiring artists and helping them unfold the unique vibes of their artistry.

One of the unique elements to know about Mike Thompson’s music production approach is that he doesn’t take a “cookie-cutter” route. Some producers always use the same old bag of tricks in any situation, while Mike is all about getting to know each artist he works with. What do they want to achieve with their music? What is their goal? What is their personality? He is always looking to help artists tell their stories and not simply imprint his perspective. The hallmark of his producer is not to replace the artist and “correct” them but rather enhance them!

Spotlight Magazine – Interview with Music Legend Mike Thompson of Hexproof Productions

We had a quick sit down with superproducer Mike Thompson of Hexproof Productions.  Mike opens up about his experience working with emerging and established artists internationally, and unpacks the knowledge he’s picked up throughout his musical journey.

WHERE ARE YOU FROM ORIGINALLY?

I grew up in Mansfield, MA, a suburb just outside of Boston.

WHEN DID THE IDEA TO BE AN ARTIST/PRODUCER BEGIN?

I started as a composer and arranger and was hired to write string arrangements for an album by my current production partner, Black and Blue. We ended up producing that album together, and we’ve been running with it ever since!

WHAT IS YOUR FAVOURITE PROJECT YOU’VE WORKED ON TO DATE?

I can’t say I have a favourite. Every project is unique in its way, and I learn equally from each of them. However, that first album I made with Sam taught me more than any single project since, and it’s an experience I think back on often.

CAN YOU ROUGHLY OUTLINE YOUR CREATIVE PROCESS – FROM THE BEGINNING OF AN IDEA FOR A PROJECT OR A COLLABORATION TO THE POINT OF COMPLETION?

If I’m writing a song or co-writing in the room with someone, I typically start with a melodic or harmonic idea, program some drums, and get a sketch going. From there, it’s all in detail and making sure that everything works to move the song forward. These days, though, I spend a lot of time producing for Hexproof Productions, my production team with Sam Nickson, and we often make songs that have been written already. The artist or writer sends us a demo, we flesh out a production sketch for the track, track and produce vocals, and then get to the detail and refinement.

HOW IS THE REALITY OF  BEING AN INDEPENDENT ARTIST/PRODUCER COMPARED TO YOUR EXPECTATIONS OF IT?

Some aspects are easier to handle than I expected, and some are harder. I never anticipated how much time I would spend administrating the business, sending stems back and forth, listening to and approving mixes, etc. But overall, it’s been a very positive experience for me and a part of my life that I’m exceptionally grateful for.

WHAT ARE SOME OF THE BIGGEST CHALLENGES AND DIFFICULTIES YOU FACE WHEN  STARTING NEW PROJECTS?

Unlike some other composers and producers, I’m very comfortable with a blank page or session. Where I find my biggest struggle is finding my groove once I’ve started. There’s always an “ah-ha” moment, and that’s where the real work begins. 

  WHAT DO YOU DO TO STAY CALM WHEN A PROJECT IS NOT GOING AS PLANNED?

There’s always a solution to any problem. It might not be an ideal solution, but it’s a solution. I try to keep that in mind whenever it looks like there’s no fix.

DO YOU HAVE ANY INSIGHTS, TIPS OR ADVICE FOR SOMEONE STARTING LOOKING TO START THEIR MUSIC CAREER AND LOOKING TO GET INTO THE MUSIC INDUSTRY?

Make lots of music, and spend time with people you admire.  Be kind, and don’t get caught up in the lifestyle of the industry.

WHAT ARE YOU MOST PROUD OF IN YOUR CAREER SO FAR?

I’m most proud of being able to help artists express their artistic vision. It’s the best feeling, and it’s always the same. 

WHAT DO YOU DO WHEN YOU’RE NOT WORKING?

I try to relax and step away from music. I might watch movies, travel, or spend time with interesting people, people far more interesting than myself.

WHAT DO YOU WANT PEOPLE TO TAKE AWAY AFTER LISTENING TO YOUR WORK?

I hope people can find something that resonates with them in my music, regardless of what it is.  I hope that at least one thing speaks to a listener.