10 Questions With Hunter Hunter Composer Kevon Cronin

Ever have that moment when you're just cruising along, maybe stuck in traffic or doing the dishes, and then a song pops into your head that just… feels right? Like it was made for that exact second? Well, get ready to meet the maestro behind some of those earworms. We’re chatting with Kevon Cronin, the brilliant mind crafting the music for the hit show Hunter Hunter. And trust me, you’ll want to stick around for this one, because Kevon’s got a way of making even the most complex musical magic feel as cozy as a warm cup of tea.

Think of Kevon’s music like this: it’s the perfect seasoning that elevates a simple meal into a gourmet experience. It’s not just background noise; it’s the vibe. And when that vibe hits just right, it pulls you deeper into the story, makes you feel every twist and turn of Hunter Hunter like you’re right there with the characters. So, let’s dive in and see what makes this musical wizard tick!

So, Kevon, what got you into making music in the first place? Was there a specific moment, like finding an old guitar in the attic?

Kevon laughs, a sound that’s as warm as his melodies. “Honestly, it wasn’t one big dramatic moment. It was more like a slow burn, a constant hum in the background of my life. From a young age, I was just… drawn to it. Like how some people are drawn to baking or fixing cars. I loved how sounds could make you feel things. It’s like when you hear a really good joke, and it just makes your whole day better. Music does that, but on a whole other level.”

He continues, “I remember being a kid and hearing a certain piece of music, maybe from a movie or a commercial, and it would stick with me for days. I’d try to hum it, tap it out on the table. It was this invisible force that could change my mood instantly. I wanted to be the one creating that magic for other people.”

What's the coolest part about composing for a show like Hunter Hunter? Is it like being a detective for emotions?

“Absolutely!” Kevon exclaims. “That’s a fantastic way to put it. It’s exactly like being an emotional detective. You’re looking at the script, at the characters’ faces, at what they’re not saying, and you’re trying to figure out what the underlying feeling is. Is it tension? Is it joy? Is it that creeping sense of unease? My job is to translate that into sound.”

He uses a relatable example. “Think about when you’re watching a suspenseful scene. You know something bad might happen, but you’re not sure. That little knot in your stomach? That’s what I’m trying to create with music. Or on the flip side, when two characters share a really tender moment, and your heart just feels a little lighter. That’s also the music’s job. It’s about amplifying those human experiences.”

When you're writing a new piece, where do you even start? Is it a melody first, or a beat, or just a feeling?

“It really varies,” Kevon explains. “Sometimes, a melody just pops into my head, like a little earworm that I have to catch before it flies away. Other times, I’ll be working on a specific scene, and the feeling of that scene will dictate the rhythm or the harmony. It’s like trying to solve a puzzle, but instead of pieces, you’re working with notes and rhythms.”

He elaborates, “Imagine you’re trying to describe the feeling of a crisp autumn day. You might start with the rustling of leaves, which gives you a rhythm. Then you might think about the cool air, which might inspire a certain type of melody. It’s a bit of that organic process, but with more deliberate choices.”

Are there any particular instruments that you find yourself drawn to for Hunter Hunter?

“Oh, that’s a great question,” Kevon muses. “For Hunter Hunter, we’ve really explored a range of sounds. I love the intimacy that a piano can bring – it’s like a direct line to the soul. But then, for those moments of tension or suspense, we’ve used a lot of strings, especially lower registers, to create that unsettling atmosphere. Think of it like the difference between a whispered secret and a booming announcement. Both are powerful, but they serve different purposes.”

He adds, “And sometimes, it’s the unexpected. A quirky little percussion sound, or a subtle synth texture, that can really add that unique flavor to a scene. It’s all about finding the right voice for the story being told.”

Do you ever get stuck? Like, writer's block for music? What do you do then?

Kevon chuckles. “Oh, absolutely! It’s as common as forgetting where you put your keys. When I get stuck, I’ve learned not to fight it too hard. It’s like trying to force a stubborn jar lid open; it’s just going to make things worse. Instead, I’ll step away. I’ll go for a walk, listen to completely different music, read a book, or even just stare out the window.”

“Sometimes, the best ideas come when you’re not actively looking for them. It’s like when you’re trying to remember a word, and it won’t come, but then a few minutes later, it just pops into your head. The brain needs a break sometimes, a chance to just wander and let things settle.”

What's a musical element that you think people might not notice but is actually super important?

“That’s a fantastic question because so much of what I do is about being subtle!” Kevon enthuses. “I’d say dynamics. It’s the difference between a gentle whisper and a loud shout. How loud or soft the music is, how it swells and fades, that’s incredibly important for guiding the audience’s emotional journey. Think about it like the ebb and flow of a conversation. Sometimes you lean in to hear something important, and sometimes you pull back when there’s a lot going on.”

He continues, “Too much of one thing can be overwhelming. Too loud all the time, and it’s like someone yelling at you constantly. Too quiet, and you might miss the nuance. It’s about finding that perfect balance, that push and pull, to keep the listener engaged without them even realizing why.”

If Hunter Hunter's music were a food, what would it be and why?

Kevon ponders for a moment, a smile playing on his lips. “That’s a fun one! I’d say it would be something like a really well-crafted stew. You’ve got these distinct ingredients – the main melodic themes, the percussive elements, the atmospheric layers – all simmering together. Each ingredient has its own flavor, but when they meld, they create something richer and more complex than any single part.”

He adds, “And depending on the scene, the stew might be spicier, with a bit more kick, or it might be richer and more comforting. It’s about the depth and the layers of flavor that unfold as you experience it. You don’t just get one taste; you get a whole journey of flavors.”

What’s your favorite part about seeing your music in the actual show? Does it ever surprise you?

“Oh, it always surprises me in the best way!” Kevon beams. “Seeing how the music interacts with the visuals, the actors’ performances, the editing – it’s like watching a birth. You’ve put all this effort into creating these elements, and then they come together and become something new, something bigger than the sum of its parts. It’s incredibly rewarding.”

He shares an anecdote, “There are times when I’ll hear a cue I wrote, and it suddenly adds a whole new layer of meaning to a scene that I hadn’t even considered during the writing process. It’s like the music is whispering a secret to the audience that the characters themselves might not even be aware of. That’s pure magic.”

What do you hope viewers take away from the music of Hunter Hunter?

“Ultimately, I want the music to enhance their experience of the story,” Kevon says thoughtfully. “I want it to draw them in, make them feel invested in the characters and their journeys. If the music can help them feel a little more suspense, a little more empathy, or a little more excitement, then I’ve done my job.”

He concludes, “It’s about creating a more immersive and emotional connection to the show. Think of it like the soundtrack to your own life – sometimes it’s upbeat and exciting, sometimes it’s a bit more mellow. I want the music of Hunter Hunter to be that perfect soundtrack for the world the creators have built, helping audiences feel every moment.”

Any advice for aspiring composers out there who are inspired by your work?

“My biggest piece of advice is to listen,” Kevon urges. “Listen to everything. Listen to music, yes, but also listen to the world around you – the sounds of nature, the sounds of the city, the way people talk. And don’t be afraid to experiment. Try new things, make mistakes, and learn from them. Every piece of music you create, even the ones that don’t quite work, is a stepping stone.”

He adds with a warm smile, “And most importantly, make music that you love. If you’re passionate about what you’re creating, that passion will shine through and connect with others. Don’t try to be someone else; be the best, most unique version of yourself. The world needs your sound!”