Composer Alec Puro is expanding the field of royalty-free music with Viralnoise
Let’s face it, in 2025 if you have an iPhone or camera phone, anything is possible. Content doesn’t have to be created with expensive lenses anymore, it can be simple and stripped down but still remain high quality. Oscar-winning director Danny Boyle is proving this with his latest film, 28 Years Later, which was shot entirely on an iPhone 15 Pro Max. In the case of 28 Years Later, Boyle did this not because of budget constraints, but to evoke a sense of realism.
Music and sound effects made for big budget films are also now attainable to everyone from TikTok creators to indie filmmakers, thanks to royalty-free music licensing companies. Viralnoise is one of these companies and was founded by veteran composer Alec Puro (Black Summer, The Art of Getting By) this year. Their mission is to level the creative playing field by making Hollywood-grade audio accessible to all creators. Through Viralnoise, creators can enhance their projects with elite music and sound effects—without the complexity of traditional licensing agreements or the financial burden of high-cost production music. Whether creating content for YouTube, TikTok, podcasts, or professional productions, Viralnoise provides an affordable solution for all creators.
“Countless content creators have told us they struggle to find unique music that fits their style while navigating different platform requirements,” added Eric Meyers, COO at Viralnoise. “Our new platform solves these pain points by delivering high-quality tracks that are safe to use everywhere, from TikTok to professional productions.”
In the below interview, Alec discusses the advancements in the music industry, his work on the NBA 2K video game series and much more.
Technology wise, how do you think the music business, specifically composing, has changed from when you first started out to now?
The technological transformation has been absolutely massive since I started out. When I first began composing in the late ’90s, we were still working with analog 2-inch tape and multitrack recorders, everything was physical and you had to commit to your decisions. There was no ‘undo’ button. If you wanted to layer instruments or experiment with sounds, you had to physically record each take onto tape, and mixing was done on massive analog consoles.
Today, the creative possibilities are infinite. I work with everything from Output and Arturia plugins to Spitfire Audio libraries, running sounds through all kinds of old vintage plugin emulations like API channel strips, etc. It’s so amazing to have access to this incredible hybrid of vintage analog gear mixed with cutting-edge digital tools. Today I can compose, arrange, and even mix an entire score from my studio, then instantly share it with directors and producers around the world, which would not have been possible when I started.
Is there a program that has been invented in the last ten years that has made your creative process significantly easier?
Absolutely – the collaboration tools alone have been game-changers. Dropbox, Frame.io, and AudioMovers have completely revolutionized how I work with directors, producers, orchestras and sound designers. I remember the days of burning CDs and FedExing them overnight, or having to physically be in the same room to review cuts. Now I can instantly share a new cue with a director, get notes back in real-time, and make revisions while they’re still in the edit bay. Or record a full orchestra in Budapest from the comfort of my studio in L.A. as if they were in the next room.
You have two music companies, Gramoscope and Viralnoise. Can you talk about the difference between the two?
Gramoscope and Viralnoise represent two different eras and business models in my career, but they’re deeply connected. I founded Gramoscope Music back in 2006 out of necessity – there could be significant downtime between scoring films or scripted shows, and I never knew how long that would last. In some cases, it lasted long enough that I wouldn’t be able to pay my rent! So Gramoscope became this full-service music production company that creates and licenses music primarily for traditional broadcast TV, films, advertisements, and video games – mainly projects with backend performance royalties.
Over the years, Gramoscope has powered the sound for major productions like ‘The Real Housewives’ franchise, ‘Wicked Tuna,’ ‘Vanderpump Rules,’ ‘Hell’s Kitchen,’ ‘First 48,’ the ‘NBA 2K’ video game series – basically the music you hear in your favorite shows and ads. We built this incredible catalog that was exclusively available to big-budget productions.
Viralnoise, which I launched in 2025, completely flips that model. After years of creators asking how they could access this same Hollywood-grade audio, we finally built a platform that makes Gramoscope’s premium catalog available royalty-free through affordable subscriptions. So instead of traditional licensing deals with networks and studios, we’re serving YouTubers, TikTok creators, podcasters, indie filmmakers, basically democratizing access to the same music that’s been powering major entertainment for over a decade. It’s the same quality audio, just a completely different distribution model for the digital content revolution.
What video games has Gramoscope Music provided music for? Do you have a favorite you have worked on?
We’ve provided the music for the NBA 2K video game series for over a decade now, which has been really exciting to be part of. Gaming is such a dynamic medium for music, and the NBA 2K franchise has such a massive global audience. It’s been great to see how our music enhances the gaming experience for millions of players worldwide.
Viralnoise has incorporated an AI feature in the platform, can you discuss what it is?
We incorporated AI-powered similar search to help creators find the perfect track quickly. Instead of scrolling through thousands of tracks, creators can copy/paste a reference track into our search bar from Spotify, YouTube or upload an mp3 reference, and our AI will help match that track with similar sounds from our catalog. It’s about efficiency – when you’re creating content, you need to find the right music fast. The AI similar search learns from successful matches and gets better at understanding the nuances of what makes tracks work well together.
For TikTok users out there, why should Viralnoise be on their radar?
What sets us apart is that we’re giving TikTok creators access to the same music and sound effects that have been used in countless major TV shows, blockbuster films, and big-budget advertisements. This is music digital creators have not had access to until now, so it’s not the same old music you’ve already heard in everyone else’s content. We also offer clear simple licensing that works across all digital platforms without takedown risks, so no more dreaded copyright strikes. Our affordable pricing starting at $8.99 monthly makes professional-grade audio accessible to creators at every level.
One of the Viralnoise features is access to track stems and alternate mixes for the perfect fit. For a TikTok or YouTube user that is just starting out, can you explain what this means?
Track stems/alternate mixes are essentially the individual components of a song separated out, like just the drums, just the bass, just the melody, etc. This gives creators incredible flexibility to customize the music to fit their content perfectly. Maybe you want just the instrumental stem without vocals, or perhaps you need an underscore version that has no melody. Alternate mixes can really help a creator use the music to support what’s onscreen rather than overpower it.
You have had songs on everything from Glee to The Americans. How is the process for getting your lyrical songs on these shows different than if you were to just create instrumental music?
The process is completely different, and it really depends on what story the project is trying to tell. When I’m creating instrumental music, whether it’s scoring or creating cues for the catalog, I’m supporting the narrative without drawing attention away from the dialogue or action. It’s meant to enhance what’s happening on screen in a more subliminal way.
Songs, on the other hand, often become featured moments where the music itself becomes part of the storytelling. When one of our songs gets placed on a show like ‘Glee’ or ‘The Americans,’ it’s usually because the music supervisors found something that perfectly captures the emotional beat they’re looking for. Maybe it’s the perfect breakup song or it captures a character’s internal struggle. The song becomes the focus, not just the background.
Had you already created these songs before, or were they made especially for the series and episode?
It’s been a mix of both approaches. When you license an existing piece of music from your catalog you retain ownership, it is a non-exclusive license. When I am hired to write music or score a project, that’s usually a work for hire where I do not end up owning the music once the project is completed so it is not added to my catalog.
What has been a career highlight for you?
I think my career highlight is that I am able to consistently work creating music for film and television. I know firsthand how hard it is to get a job in this industry, so I feel extremely fortunate to consistently be able to create new opportunities as the years progress.
But if I had to pick a few specific moments that still give me chills, having two feature films I scored, ‘Higher Ground’ with Vera Farmiga and ‘The Art of Getting By’ with Emma Roberts and Freddie Highmore premiere in competition at the Sundance Film Festival the same year was surreal. That whole experience felt like validation that I’d found my voice as a composer.
Getting to collaborate with Linkin Park scoring the film ‘MALL’ was another incredible moment, these were guys I’d toured with back in my Deadsy days, and suddenly we’re creating film music together. And speaking of Deadsy, playing Madison Square Garden on the Family Values tour in my twenties was this dream-come-true moment that proved anything was possible.
Viralnoise Social Media:
YouTube: @ViralnoiseMusic
Instagram: @ViralnoiseMusic
Facebook: @ViralnoiseOfficial
TikTok: @Viralnoise
Elara is a dynamic writer and blogger who specializes in pop culture and movie reviews. With a background in film studies and journalism, she combines her deep knowledge of the entertainment industry with a sharp, insightful writing style that keeps readers coming back for more.
