# How do you handle your lack of skill?



## mrd777 (Feb 13, 2018)

Hi guys,

This is a personal question I guess. I find myself feeling VERY inadequate often times. I mean, you watch movies, games, tv series, etc... and there are SO many kinds of styles of music, that you just don't have time to master. Sometimes you hear something in a style you almost never write, and it's done so well, and feels almost mysterious.

How do you handle and accept your skill level? Do you just tell yourself that you have your own style and that you just can't get around to mastering everything? Of course you will study as much as you can, with the free time you have... But I don't see how one could really get so good at every style, unless you're one of those prodigies and have the time to study music all day, in all kinds of styles. But the issue for most of us I guess, is that we do this part time, and have families, homes, day jobs, etc...

My answer is to this:
I personally handle my lack of skill poorly. I get way too stressed and feel like a fraud. 

Best wishes,
Dave


----------



## Jeremy Gillam (Feb 13, 2018)

I think most people who make music on some level do so because they have no choice. This can be a blessing, and at times, a curse. For myself, I've found that focusing on doing it because I love it rather than doing it because I want to be good at it and/or successful helps with the imposter syndrome aspect. Dare to suck. Never stop trying to learn and improve. Go write some music!


----------



## mrd777 (Feb 14, 2018)

jrgillam said:


> I think most people who make music on some level do so because they have no choice. This can be a blessing, and at times, a curse. For myself, I've found that focusing on doing it because I love it rather than doing it because I want to be good at it and/or successful helps with the imposter syndrome aspect. Dare to suck. Never stop trying to learn and improve. Go write some music!



I remember a time when I was focused on having FUN, but then client jobs came along, and the need to be GOOD overtook. I think I have to find a way to get back to just having the fun, because when I'm having fun, I naturally want to try new things and experiment new ideas, and learn from other things. The competition aspect was not really there.


----------



## MatFluor (Feb 14, 2018)

For me, as a composer still learning the orchestral space but many years experience in gigging and power metal:

I think very business-y. I can make good power metal, I am good at making atmospheric and horror. I lack skill in many other genres. What I do is, built the skills up slowly, educate myself, write short pieces in different styles and let them get critiqued. I could say, my low skill is often good enough for some low-level game project (that won't ever get released anyway....another story though).

The other side is, I want to be a specialist for a handful of genres. For me, that's horror, drama and sci-fi first and foremost. I can't do sci-fi yet (talking Ron Jones, Horner or the like). Drama needs some work too. But if I happen to get to a gig where I need to deliver something like this, I make 2 calls: 1 to a friend composer of mine who can pull it off, that can teach me and guide me a bit (and maybe spark some ideas), and 2. Another composer (might be the same guy even) that can pull it off and ask him if he wants to take over (for e.g. a small fee since I was kind-of an "agent") or (if client is ok with it) split writing.

I can't be a master of all - at least not in a feasible time (as OP said, dayjob, home yadda yadda). So I build my core-skills, build up "secondary genres" skills (to have a basic grasp of the genre in question and be able to produce something that's above amateur level) and build my connections with fellow composers - either to build my secondary genres knowledge, or to have a roster of people which are happy to take a job that I can't do.

I managed to give two jobs away in exchange for a percentage of the fee - both in a genre I can't do yet, or at least not on the level needed. I'm not too proud to do that, and I learned from both composers a ton about the respective genre - which in turn helps me. And in turn, a composer-friend gave me a job in a style that he deemed to fit my skills.

For me, it's not about "what can't I do", but all the more about "what can I do, and who are the people that I can help, and can help me". It's a business after all. E.g. if you have a shop that delivers vegetables to restaurants - and a restaurant orders something you don't have, you can either say "I don't have it, go to my competitor" and be done, or "Of course, delivery might take a tad longer than usual" and run to another vegetable dealer to get what the restaurant wants and deliver it (that's mostly what happens btw. since when you send a client somewhere else, he might never come back). So I chose the second option. Apart from that the client should already know what my specialty areas are, and where I lack, I can make everything smooth for him at least while I give a job away or get co-writing help. In the end, the product counts.

I would love to explain a bit more in detail to clear some paradoxons up, but I'll save that until someone asks


----------



## Jeremy Spencer (Feb 14, 2018)

mrd777 said:


> How do you handle and accept your skill level?



The answer is...don't accept it. Find out what you want to learn and take the necessary steps to make it happen. One thing that helps me is to try a style you have never written in (or need more experience with), you'd be surprised at how much it can inspire new ideas. Also, I rarely turn down a project if it's not in my preferred "specialty'....unless it's way over my head. I also highly recommend taking some sort of formal music training, such as piano lessons. It will open up a whole new world of inspiration.

Sometimes I feel I'm a good composer, but then I will hear something incredible (like right here in the forum) and instantly feel like selling all of my gear and hiding under a rock. The thing to remember is that there are other composers who feel this way when they hear some of YOUR music.


----------



## Jimmy Hellfire (Feb 14, 2018)

I don't obsess over my weaknesses. I cultivate my strengths.

I personally quite dislike the idea of "writing in styles" in general. I never got into music to do "styles" in the first place, I never did anything in life to demonstrate how well I can get myself boxed into something. It just doesn't appeal to me and I don't find it interesting. I also think that if you're not one of those people who for different reasons really excel at it and gravitate towards mastering this goal (there _are_ people who are really, really good at mimicking styles and do stuff I feel I could never do), it's a fool's errand, and pursuing that kind of ideal is a sure way to always make sure you feel inadequate and forfeit all potential of really harnessing a special force you otherwise might be able to potentiate.

I believe that there are ways to establish oneself as a "go-to-guy" for a certain type of thing. But it's not gonna happen if we keep panting away trying to emulate whatever someone else did great, ride every bandwagon and make everyone happy.

I don't tell myself that I have my own style. I do have my own style. It's not gonna please everyone. But often times, people really like it. I'm sure it was partly bred from ignorance and selfishness. But also lots of self-criticism, honesty and work. While I don't believe one necessarily has to go crazy over being able to write whatever random stuff someone might ask of you, you definitely have to work hard and strive to be as good as you can at whatever you're doing.

Also, an entirely personal, individual little realization / life lesson of mine: feeling bad about oneself is for fools. It's no use. I frequently remind myself: don't even start doing it, don't waste time on that nonsense. Eliminate this type of self-sabotage at all times. It's a special, negative type of self-centered vanity, and the uncomfortable truth is: it's _easier_ to loath oneself than become something you're able to love.

Do you wanna be the guy who sulks about themselves and their inadequacies all day, or do you wanna get shit done? Just snap out of it. Feeling bad will get you nowhere, and will only slowly, but surely pile up as sand in an engine that you need to keep oiled and optimized at all times for far greater things. Be wise about what you choose to do with your time and thoughts. That's what I tell myself time and time again.


----------



## JohnG (Feb 14, 2018)

Jimmy Hellfire said:


> I believe that there are ways to establish oneself as a "go-to-guy" for a certain type of thing. But it's not gonna happen if we keep panting away trying to emulate whatever someone else did great, ride every bandwagon and make everyone happy.



very true. panting away and slavishly imitating leads to really terrible gigs.



Jimmy Hellfire said:


> I don't tell myself that I have my own style. I do have my own style.



Also true. Even if you don't think you have your own style, you actually do. 

Write what YOU think is cool for a scene. Don't write what you think someone else would have written. Even if you think you don't have a style, as Jimmy wrote -- you actually do, even if it's what you _wouldn't_ write. "I would never write 'x' for a scene" is as powerful a statement as knowing exactly what you do want. 

Think the temp is terrible? Then ignore it and do something else that you think is good; don't argue with the director about the temp, just do something different and see what happens. Best to find out right away if your taste is what they want, because if it isn't, "fly you fools!" (as Gandalf would say.) 

A gracious, early parting is better than a month or two of misery (for you and them), followed by a parting after you've broken your heart on something.

And one last thing: forget complexity. It doesn't make your music any more authoritative or "better." It isn't more interesting. If you want to write in tone rows with constantly changing meter, great, but don't do it because some professor will think it's cool.


----------



## Ned Bouhalassa (Feb 14, 2018)




----------



## Jeremy Spencer (Feb 14, 2018)

Ned Bouhalassa said:


>



I prefer a nice Islay myself....like Ardbeg.


----------



## Guy Bacos (Feb 14, 2018)

Great topic, however this is such a loaded question.


----------



## Vik (Feb 14, 2018)

mrd777 said:


> Of course you will study as much as you can, with the free time you have... But I don't see how one could really get so good at every style, unless....


Hi! With all due respect... why on earth would I try to become really good - or even just good - at every style? Even those who master only one style often "fail" at succeeding commercially/musically etc within that style. 

Here's how I handle my lack of skill: I spend time on learning more within the areas I'm really interested in. That's it. 




> But the issue for most of us I guess, is that we do this part time, and have families, homes, day jobs, etc...


Maybe, but many will see it different. Not needing to make money on the music create gives you the freedom to create exactly the music you really want to make. That's a privilege many professionals would have loved to have.


----------



## Wake (Feb 14, 2018)

Used to love Talisker but in time found it works better in a great blend like the Green Label. Also did the (amazing!) trick splitting it with Caol Ila. 

Now I'm a Springbank person, although anything by Bruichladdich will also bring me joy.

That's exactly how I feel about my relative incompetence. Give it time, let it mature, and trust that my personal taste will develop enough to let me recognize and display my strengths in the best possible way. In the mean time, produce more and sell most of it for blending.


----------



## mrd777 (Feb 14, 2018)

Ned Bouhalassa said:


>


This.. This is it. The answer!


----------



## mrd777 (Feb 14, 2018)

Guy Bacos said:


> Great topic, however this is such a loaded question.


Loaded in what way?


----------



## mrd777 (Feb 14, 2018)

Jimmy Hellfire said:


> I don't obsess over my weaknesses. I cultivate my strengths.
> 
> I personally quite dislike the idea of "writing in styles" in general. I never got into music to do "styles" in the first place, I never did anything in life to demonstrate how well I can get myself boxed into something. It just doesn't appeal to me and I don't.....



Truth!


----------



## mrd777 (Feb 14, 2018)

Vik said:


> Hi! With all due respect... why on earth would I try to become really good - or even just good - at every style? Even those who master only one style often "fail" at succeeding commercially/musically etc within that style.
> 
> Here's how I handle my lack of skill: I spend time on learning more within the areas I'm really interested in. That's it.
> 
> Maybe, but many will see it different. Not needing to make money on the music create gives you the freedom to create exactly the music you really want to make. That's a privilege many professionals would have loved to have.



Good points Vik.


----------



## Darren Durann (Feb 14, 2018)

Might be a good idea to not second guess yourself. Just get as good as you possibly will at the music you love; your heart can be quite motivator, heck I composed for two years with no pay back whatsoever. I just loved writing the music I loved. In some ways my wife and I were happier then.

I must confess though, interest began multiplying in my music when I started learning the popular styles. I'm not a huge EDM fan musically (though from a production standpoint it's tons of fun for me), nor rap or country/western. Yet I came down hard on myself to be able to write in those styles in an engaging (for others) manner. Once I started letting go of my "concert or orchestral film music only" fetish I started getting offers.

So...if you want to make money, best to start listening attentively (Sennheisers help) to other genres. Your ear is an invaluable resource here, because you can pick up one heck of a lot from what you listen, as long as you have goal in mind.

Btw if the music you love is EDM or some form of Pop that makes zee moolah, what the heck do you care about changing up for? If your getting paid while loving your music, shoot...don't we ALL want that? Do what you do well and love and stop the second guessing.


----------



## aaronventure (Feb 14, 2018)

mrd777 said:


> Sometimes you hear something in a style you almost never write



Immediately sit down and transcribe it. In 10 minutes you'll be *"Huh, it's just that?"* You'll instantly feel better and more confident. And you'll have most likely learned something. Win-win. Works every time.


----------



## Jeremy Spencer (Feb 14, 2018)

aaronventure said:


> Immediately sit down and transcribe it. In 10 minutes you'll be *"Huh, it's just that?"* You'll instantly feel better and more confident. And you'll have most likely learned something. Win-win. Works every time.



Actually, since taking classical piano lessons, I have actually done this myself. I look at some piano sheet music (by famous composers) and go "what, that's it?". I made it out to be more complex than it actually was.


----------



## mrd777 (Feb 14, 2018)

aaronventure said:


> Immediately sit down and transcribe it. In 10 minutes you'll be *"Huh, it's just that?"* You'll instantly feel better and more confident. And you'll have most likely learned something. Win-win. Works every time.


Yes, I agree with this. I've had this happen to me too!


----------



## Guy Bacos (Feb 14, 2018)

mrd777 said:


> Loaded in what way?



I agree you should never stop improving your skills, why should you stop learning?

However, it's a complex issue. You could become the most skillful composer in the world and still envy someone else's talent because they offer something different from you, but you think it's better or they have a specific style and vice versa, or they have more "success" than you. You could lack skills in one area but a genius in another, you could constantly depend on others' opinions to value your skills, you could settle on the knowledge you have and be zen about it, my point is, I agree that acquiring new skills definitely makes you a more complete musician but since there is no end to learning, many factors can influence how you feel about your skills.


----------



## fixxer49 (Feb 14, 2018)

If you already possess the expertise required to recognize your lack of skill in a particular area, well dammit, you are at least on the right track! You should see this as a positive* 

(*see Dunning-Kruger effect)


----------



## mc_deli (Feb 14, 2018)

Lack of skill?
What lack of skill?

My answer: delusion. And lashings of it.


----------



## Vik (Feb 14, 2018)

Guy Bacos said:


> However, it's a complex issue. You could become the most skillful composer in the world and still envy someone else's talent because they offer something different from you, but you think it's better or they have a specific style and vice versa, or they have more "success" than you. You could lack skills in one area but a genius in another, you could constantly depend on others' opinions to value your skills, you could settle on the knowledge you have and be zen about it, my point is, I agree that acquiring new skills definitely makes you a more complete musician but since there is no end to learning, many factors can influence how you feel about your skills.


Yes. 
And to add to that: I've paid many bills by getting phone calls from talented composers who need a co-composer, producer, sound-maker, arranger etc. If not-yet-so-skilled music makers also would rely on help from others when needed/possible, maybe we all could get more stuff done/make more music/pay our bills?


----------



## novaburst (Feb 14, 2018)

mrd777 said:


> Of course you will study as much as you can, with the free time you have



This will never end first I just want to repeat what others have said .....you do have your own style and skill, when you start working on a piece there will come a time or many times you will get stuck because your not sure what the instrument should be doing to play a certain part weather it be the horns, strings percussion, woodwinds,

this is where research comes in and listening to how other pieces of music to learn how they used the instrument to play that part that is similar to yours, or maybe not similar but it works so you listen to many takes from different pieces then give it your own interpretation in your own piece

The point is you was not sure before but now you have learned something new, and with it brings a lot of experience.
I am constantly listening to other composers pieces from orchestral, soundtracks, epic, muckups, trailers.

Our teachers are not only in university they are every where, and believe me a great composer will learn from you too, a great man said iron sharpens iron so people sharpen people, so it makes a lot of sense to say composers sharpen composers.


----------



## Darren Durann (Feb 14, 2018)

mc_deli said:


> Lack of skill?
> What lack of skill?
> 
> My answer: delusion.



And using it conveniently and perseveringly. It's a sign of creativity


----------

