# The ultimate composer's assistant



## Danny_Owen (Mar 24, 2010)

Hi guys,

I'm a final year London based student looking to get into the industry. A lot of people have said to me that being an established composer's assistant is a good way to get to know the things that you just can't learn anywhere else, as well as helping with composing skills and techniques.

As such I'm doing my dissertation on 'What skills and services does one need to be able to offer in order to be more likely to secure work as a media composer's assistant?'

Basically I've designed this survey which will ask about what you, as a composer, would like from an assistant. There are only 10 questions: 4 of which are about you and your work, 4 about the relevant skills and services you might want your assistant to have, and 2 about how often you'd need an assistant to work for you and what you think a reasonable wage would be for all the services that you've listed.

I really need as many responses to this as possible, so please if you have a minute, fill in the questionnaire- it should take 5-10 minutes at most.

The survey is here: http://www.surveymonkey.com/s/MRJG785

If people want I can publish the findings of this in the forum, as it's a dissertation it all becomes public domain anyway!

Thank you in advance for taking the time to fill out the survey, it's really appreciated.


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## Danny_Owen (Mar 24, 2010)

Hi guys,

Just want to say a big thank you to everyone who has filled in the questionnaire so far, there have been some really interesting answers and it has been very informing. I'd still like more replies, so if you haven't already filled in the questionnaire and are reading this please do. 

As it has been requested, I'll definitely post some results on here later on in the week once the results have settled. I'm still hoping for some more answers, obviously the more the better!

Please keep filling it in!

Thanks again 

Danny


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## Danny_Owen (Mar 30, 2010)

Ok, so the surveys have stopped coming in pretty much. A lot of it was actually very much what you'd expect. 

There was a direct correlation between how long people had worked in the industry and what percentage of their income it was- almost everyone (only one exclusion) that had worked for less than 4 years had less than 100% of their income coming from composing. Everyone over 4 years had 100% - so, it looks as if (if you're talented and persistent) 4 years in the industry is a typical amount of time until you can really start getting the amount of paid composing work that i expect everyone here wants. Surviving that long aint for the faint hearted (and that's 4 years from their first ever paid composing job, not including education and freebies!)

Logic, Pro tools and Cubase are the most popular DAW, with Sibelius destroying Finale and notation software.

Evidence suggests that a composer's assistant really needs to know ALL the main virtual instruments and their engines at least to a certain extent ( knowing the engines: vienna, play, kontakt as a bare minimum)

The most in-demand services were midi orchestrating and mixing. I'm not sure whether that's a time constraint thing, or a lack of confidence in the composer's own ability to mix/produce, but either way, both these services proved to be in very high demand.


The most important things that I've learnt from this survey though are:

Have your shit together before you walk through the door- no composer wants an assistant that will slow them down- if you are only out there for your own experience and have nothing to bring to the table chances are you wont last longer than a week.

Leave your ego at the door and be trustworthy. There were several comments specifically on this, you have to realise that the composer is basically your captain, and the music is very much under his command. Important: Be confident, but know when to be quiet.

Assistants should be paid... eventually. There was a general consensus that a trial period (of usually 1 project) would be essential to show that the assistant was both competent and reliable. Future projects would be paid, and fairly (i.e. not minimum wage!).

As an assistant you may get the chance to ghostwrite, you may not. From the composer's point of view, ideally they'd just compose and you'd take care of the rest brilliantly. Period. This includes knowing how every bit of software works with each other, if there are multiple computers knowing how to get them to communicate and work together, ideally being able to write in dynamics and orchestra marks etc if the parts are going to a real orchestra, mixing, midi orchestrating- basically the works. Knowing about composition on it's own is just simply not going to cut it in this context.

I'm going to leave with a comment that one composer said about what they wanted from an assistant, I think it really sums it up:

They should:

'Be FAR more clever than myself
Be FAR more organised than myself
Be able to anticipate several possible outcomes/probabilities to any problem no matter what the nature of said issue is (ie-thinking on one's toes)'

Thanks all who took part, should help me loads with my dissertation, if anyone has any comments / feedback please leave something, I feel like I'm talking to myself here! 

Danny


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## midphase (Mar 30, 2010)

You're not talking to yourself...however I think you're preaching to the choir.


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## midphase (Mar 31, 2010)

I'd like to add a couple of thoughts to this thread in case anyone is reading:

First of all, we should specify that there is a difference between an internship with a composer vs. being an actual assistant. Usually with internships the requirements are lower, there is an implied understanding that the intern is there to learn, and hence doesn't need to be ready to go on day 1. The internship also implies that there is an exchange of work for knowledge, and hence rarely tends to be a paid position.

With an assistant, the position is generally a paid one (although not always). There is the implication that the assistant is there to perform some specific duties and hence should be up to speed on those duties.

I really don't know if I agree that an assistant should be able to mix or even do MIDI orchestration since IMHO those are "mix engineer" and "mock up orchestrator" positions and not what I would call "assistant" necessarily. Nonetheless, I know that in the great grey area that is our industry, things like that tend to blend into one another.

To me, an assistant is really a secretary with some specialized skills. Someone who keeps things organized, schedules meetings, follows up on e-mails and phone calls, even keeps the studio clean and throws away the trash every once in a while. On top of that, that person would need to have some musical knowledge to be able to handle some relatively simple tasks which would involve DAW's and VI's.

One of the challenges is that the workflow for a composer tends to be sporadic. For example, I could probably use an assistant for the next month or two, but after that I'm not really sure if I'd be able to keep one employed...it really all depends on upcoming projects (or lack of).

The pay rate is also an issue. Since a composer's pay rate can vary heavily, it's difficult to keep the assistant pay rate as a constant without it either being too low (to be on the safe side) or to high which would lead to said assistant being laid off during slower periods or lower paying projects.

Lastly, I think it's EXTREMELY important for the assistant to have a very clear idea of what they expect out of the experience and to be able to communicate that in very direct terms to the composer who is hiring. For example, if the assistant is hoping to get to do some composing at some point, and the composer has no intention of ever letting the assistant compose...that needs to be cleared up right away before anyone wastes any time and resentment starts to build.


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## midphase (Mar 31, 2010)

Ok...one more thought that I just remembered:

Many working composers are not particularly well equipped space-wise or workstation wise for an intern, much less a full time assistant. What I mean is that most of us are working in essentially one room, and when it really comes down to it, I think most composers would prefer to spend money on some new sample library or studio gadget than an additional computer, monitor and interface for an eventual assistant. Most of my peers with maybe one exception or two work in such a manner, and even though they would be very open to hiring an assistant, they hesitate since they're not sure they have the physical infrastructure to support that position.


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## gsilbers (Mar 31, 2010)

For me IMO one of the biggest is to get along with the composer. I've known and have been in terviews that the compò®   Ìô®   Ìõ®   Ìö®   Ì÷®   Ìø®   Ìù®   Ìú®   Ìû®   Ìü®   Ìý®   Ìþ®   Ìÿ®   Ì ®   Ì®   Ì®


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## midphase (Mar 31, 2010)

Ability to work for an asshole was not one of the choices on the survey.


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## germancomponist (Mar 31, 2010)

midphase @ Wed Mar 31 said:


> Ok...one more thought that I just remembered:
> 
> Many working composers are not particularly well equipped space-wise or workstation wise for an intern, much less a full time assistant. What I mean is that most of us are working in essentially one room, and when it really comes down to it, I think most composers would prefer to spend money on some new sample library or studio gadget than an additional computer, monitor and interface for an eventual assistant. Most of my peers with maybe one exception or two work in such a manner, and even though they would be very open to hiring an assistant, they hesitate since they're not sure they have the physical infrastructure to support that position.



+1 o/~


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## chimuelo (Mar 31, 2010)

I have performer assistants where I work.
They wear Bikinis in the summer, and for the 6 months where tempuratures fluctuate from 60 to 80F degrees, other scantily clad outfits.
After a good dance extension or great improv I simply wave my hand and frozen Schnifters of Jagermeister are brought to us.

At home though I have an assistant. She gets my coffee so I can have an un interrupted workflow, and when she is busy I have my son, who therfore becomes the assistant to the assistant.

But I cannot imagine performing or composing without these serfs helping out.
I would become frustrated which would cause more dissonance in my compositions with extremely high velocity levels.

Below, I tell the girls after a great 15 minute groove to please stay seated....


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## José Herring (Mar 31, 2010)

Besides technical skills which should be obvious the chief ability one should have is the ability to hang in there long after everybody else is gone.

Of all the composers that I know of that started out as assistants the one factor that made them big time composers is that they worked long hard hours and were there for year after year long after their "competition" had left.

But as far as setting a 4 year limit on whether somebody has "made it" or not is irrelevant. Even after 4 years some years will be very, very good and some years will be dismally bad. And in those dismally bad years I'm sure that more than a few of us have considered packing it in. I know many composers who were fairly well along and making good money that when this latest recession hit pretty much closed up shop looking for something else to do.

I try not to give out advice. Especially to an enthusiastic composer just starting out. But, if I did give advice it would be this. Never give up. Never give in. Always find ways to get better. Learn to put up with a lot of negative crap.

Jose


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## Ed (Apr 1, 2010)

Those girls can be my assistant any time.


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## chimuelo (Apr 1, 2010)

The Palms has the most skillful assistants.
Even their waittail cocktresses..................sorry..............I mean cocktail waitresses are stunning.
They are privately owned so they don't hire according to political correctness.


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## Danny_Owen (Apr 3, 2010)

Ha, how am I meant to compete with talent like that about??!

Cheers for the input guys, Midphase- some very insightful things there, thanks. I can imagine that's very true about not having the infrastructure, and also I didn't actually realise there was a distinction between an assistant and an internship, I thought it was pretty much the same thing.

It's looking more and more like being an assistant is pretty damn competitive in itself, let alone being a composer, especially with hooters girls out there! :-P


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## midphase (Apr 3, 2010)

I just found this:

Unpaid Internships Often Illegal

Those trying to get their foot in the door in a competitive field during a bad economy need all the help they can get. For college students, that often means accepting unpaid internships. But several states are cracking down, saying companies are taking advantage of the practice to flout minimum-wage laws. Interns are unlikely to speak out for fear of retribution, but the Labor Department is launching an effort to teach students, companies, and schools what is allowed. The bottom line? It's extremely unlikely that an internship with a for-profit employer can be legally unpaid. Technically, an intern can be unpaid only if he or she doesn't displace a paid worker and the employer doesn't directly benefit from what the intern does on the job. And while no one is saying that the intern can't be asked to make photocopies, if menial work makes up the majority of an internship at a for-profit company, then it's illegal, even if a student is receiving college credit for the work.

The New York Times | Saturday, April 3, 2010


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## snowleopard (Apr 3, 2010)

Great posts. I agree with Midphase, especially the post on knowing what the job is. Great NYT article too. 

I wouldn't say you need to know everything, that's a bit much to expect someone young to master every software, know how to orchestrate and transcribe on the fly, have great chops, know how to be a secretary, and work late, for free. That's silly. 

Just having a good work ethic, staying positive, and fulfilling your commitments is very welcome by many. Do that, and always try to learn and you'll be on your way. 

I also agree age means nothing. Wilford Brimley was a ranch hand and part-time stuntman when he decided to give acting a serious try when he was nearly 50, and he did it, appearing in numerous big films with much accolades.


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## Brian Ralston (Apr 4, 2010)

Not to throw a wrinkle into anyone's plans out there who think going the composer assistant route is their ticket in (and I'm not intentionally trying to make it harder for them in principle)...but I would suggest and recommend to the more established composers out there to look in other areas for their "assistants" and support staff. I will explain why. 

I am one of those who really prefer to do it all myself (when it comes to music composition). I honestly don't see myself giving an intern or assistant anything to compose and if I do need help orchestrating...I will just hire an orchestrator with experience and a reputation. But its the other technical tasks that tend to slow me down when on a tight schedule. So instead of looking for assistants who are young "future" composers...really the place I look for (and I would recommend others look for) their support staff is young and future music editors...and future recording engineer guys, etc...Believe me when I say a future engineer will need to know and can handle the "computer stuff" just as much as a composer intern and will probably be even better at it. Many recording engineers have been well trained but are just looking for real world experience and some credits. Being a union job...it is hard for them to break in. Teaming up with a composer is one way for them to get experience doing what they already know how to do...but just need a job and credits to do it on some level.

Not only will they offer your music team some budding knowledge and expertise in tasks that you as a composer prefer not to focus on...but they will for sure get a lot more experience and real time doing the tasks that matter most to them (and less to you), which they will see as valuable real world experience. The experience then becomes mutually beneficial. As opposed to just training a future "composer" who will one day just be vying for your job and really wants to get some composition time that you may not be willing or able to give them. I am not saying that is a reason not to have a young composer as an assistant. I have always been happy to share my experiences and encouragement with the younger guys and if I do need help from someone with music theory knowledge on a case by case basis (with Score prep or transcription issues)...I can bring someone in with composer experience. But an audio engineer/mixer intern or a music editor intern would probably get a lot more permanent time on your team...and you will get a lot more value out of them by having them on your team.

Just sayin'
:wink:


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