How to write 52 cues in a year

[Daryl]

It has come to my attention that this thread is becoming a little extra sweet and understanding, so it‘s time for a little more heat and divisions. So don’t fire your holy water pistols at me yet…..hear me out..

Ok here it goes… From my experience and probably the slient majority; Production Music favours the Producer more than the composer.
So I’ve heard this many times, but a composer (which traditionally is someone who writes only the music) vs Producer (who knows which frequency and what the fk to compress in a mix) with android ears- who writes mediocre music gets further in this business...

So If you’re a good composer and know shit about mixing and mastering…you are phucked.

I understand in the world of Music Libraries, Production comes first, composition second. Let’s face it, there’s a formula which you can always take from reference tracks for structure and as long as you abide by them, your track will work.

It’s no wonder I hear frustrated composers moaning about it. They are being left behind not keeping up with the tech.
However, It’s forced me want to learn more about all that mixing, mastering witchcraft, it’s a very skilled profession and I’m in awe of it.
I also don’t want to be left behind in this business because music IT technician whizz kid can identify the problematic frequency of an ant fart with a blueprint structure with edit (whoosh swish) points. I’m not entirely convinced this type of work is in the same league as traditional composition, but that’s not to say it isn’t a highly skilled one.

That being said, I do know that some of you guys are actually Composers first and a producer second (in that order). You’ve had learn the craft of mixing and mastering, so well done to you. That’s impressive. It’s a bit of a black art for me. A fustrating one for…you guessed it! A composer, not a producer. He he. It’s late here, I’m rambling now, peace to all! Nites

You just pay someone else to mix your music. Job done.

 

[StevenMcDonald]

I understand in the world of Music Libraries, Production comes first, composition second. Let’s face it, there’s a formula which you can always take from reference tracks for structure and as long as you abide by them, your track will work.

Sorry but this is 100% wrong. Most of the time the editors who are selecting music and dropping it into their shows/ads/whatever don't know a thing about production and can't identify a good mix and master. Or they just don't care because the music will be buried in dialogue.

The reason they select any given track is because of how it fits the needed mood/emotion, and the structure of how it builds and sections itself off into editable phrases. That is a compositional skill, not a "production" skill.

While its true you do need to be able to produce yourself to make a profit in this business for the most part, you absolutely can NOT succeed without strong compositional skills and just skate by on shiny mixes.

 

[davekropf]

So I’ve heard this many times, but a composer (which traditionally is someone who writes only the music) vs Producer (who knows which frequency and what the fk to compress in a mix) with android ears- who writes mediocre music gets further in this business...

Composing and producing are becoming increasingly convergent in the media music landscape, and for the working composer, I feel it's as vital to know your way around a DAW as it is to know your way around a tax form. You don't have to be a master engineer any more than you have to become a CPA, but willfully ignoring huge aspects of the modern composer's toolkit is a career cul-de-sac. (For the record, I'm not saying that's what you're saying here, @toomanynotes; I'm just making a larger point.)

I'd dare say the days of the composer making the entirety of their living solely with a piano, pencil, and staff paper are likely growing smaller in the rearview.

 

[toomanynotes]

Sorry but this is 100% wrong. Most of the time the editors who are selecting music and dropping it into their shows/ads/whatever don't know a thing about production and can't identify a good mix and master. Or they just don't care because the music will be buried in dialogue.

The reason they select any given track is because of how it fits the needed mood/emotion, and the structure of how it builds and sections itself off into editable phrases. That is a compositional skill, not a "production" skill.

While its true you do need to be able to produce yourself to make a profit in this business for the most part, you absolutely can NOT succeed without strong compositional skills and just skate by on shiny mixes.

Thanks nice to know.

 

[toomanynotes]

Composing and producing are becoming increasingly convergent in the media music landscape, and for the working composer, I feel it's as vital to know your way around a DAW as it is to know your way around a tax form. You don't have to be a master engineer any more than you have to become a CPA, but willfully ignoring huge aspects of the modern composer's toolkit is a career cul-de-sac. (For the record, I'm not saying that's what you're saying here, @toomanynotes; I'm just making a larger point.)

I'd dare say the days of the composer making the entirety of their living solely with a piano, pencil, and staff paper are likely growing smaller in the rearview.

I agree with your points.

 

[toomanynotes]

Finally, I forgot to add this in, but how often do you hear a Composer with borderline production skills openly admit he/she is terrible at mixing (alot) but rarely do you hear a good producer say the reverse?, usually they feel attacked if compositionallly challenged. I just wonder why so. I find that psychology interesting.
In anycase I’ve learn’t move with the times and get better at ‘all’ aspects of being a composer if I have to compete for work. Thanks guys, much love.

 

[toomanynotes]

Why don’t we bulid our own production library, send your polished tracks to ‘toomanynotes-dropbox‘ in exchange I will send you a contract to sign them over to me. Remember I need more than 52 tracks a year to make a modest dent in my wages. You can up your social status n tell your buds you are now signed up to a music library. Thanks!
Hmmm that gives me an idea…We cld start a syndicate of badass composers. Food for thought…anyone got an leads?

 

[kenose]

Why don’t we bulid our own production library, send your polished tracks to ‘toomanynotes-dropbox‘ in exchange I will send you a contract to sign them over to me. Remember I need more than 52 tracks a year to make a modest dent in my wages. You can up your social status n tell your buds you are now signed up to a music library. Thanks!
Hmmm that gives me an idea…We cld start a syndicate of badass composers. Food for thought…anyone got an leads?

I think you're better at this production music business than you think.

 

[tmhuud]

For those of you that don't care for production music I have no Idea which libraries your listening to but a lot of films I score are tempted with some of the best production music I've heard. (Bleeding Fingers, etc). It can be quite challenging trying to write in that style and often enough I just say "Buy the damn track!" lol.

I write for MCA and Disney and a few others (my stuff sucks) but I tell you, theres some REALLY good production music out there. Good talented folks involved. Competition is really high. You can write a lot of stuff that gets rejected by very discerning libraries.

 

[Biodynamic]

Great discussion and super interesting points that are very helpful for anyone thinking about getting into the Production Music business. It's a tough competitive world out there for sure (not just in the music biz), but I know a couple of very successful people that make their living writing for Trailer and Production Music libraries, and I'm always in awe when I have the chance to chat with them about it, as it takes TREMENDOUS dedication and drive to succeed, it really is not for everybody.
But for those who have the will to keep at it, it tends to pay off through all the sacrifice and hard work.

I urge anyone with negative feelings about Production Music to listen to some of the top dogs out there, you might be surprised at how high the standard is these days! It's very intimidating sometimes, not gonna lie.

 

[toomanynotes]

For those of you that don't care for production music I have no Idea which libraries your listening to but a lot of films I score are tempted with some of the best production music I've heard. (Bleeding Fingers, etc). It can be quite challenging trying to write in that style and often enough I just say "Buy the damn track!" lol.

I write for MCA and Disney and a few others (my stuff sucks) but I tell you, theres some REALLY good production music out there. Good talented folks involved. Competition is really high. You can write a lot of stuff that gets rejected by very discerning libraries.

Great discussion and super interesting points that are very helpful for anyone thinking about getting into the Production Music business. It's a tough competitive world out there for sure (not just in the music biz), but I know a couple of very successful people that make their living writing for Trailer and Production Music libraries, and I'm always in awe when I have the chance to chat with them about it, as it takes TREMENDOUS dedication and drive to succeed, it really is not for everybody.
But for those who have the will to keep at it, it tends to pay off through all the sacrifice and hard work.

I urge anyone with negative feelings about Production Music to listen to some of the top dogs out there, you might be surprised at how high the standard is these days! It's very intimidating sometimes, not gonna lie.

Let’s have a link to this music? Thanks!

 

[cedricm]

How to write 6 minutes of music a day:


All videos of Trevor Morris are highly recommended for composers in general and would-be TV composers in particular.

 

[Daryl]

Great discussion and super interesting points that are very helpful for anyone thinking about getting into the Production Music business. It's a tough competitive world out there for sure (not just in the music biz), but I know a couple of very successful people that make their living writing for Trailer and Production Music libraries, and I'm always in awe when I have the chance to chat with them about it, as it takes TREMENDOUS dedication and drive to succeed, it really is not for everybody.
But for those who have the will to keep at it, it tends to pay off through all the sacrifice and hard work.

I urge anyone with negative feelings about Production Music to listen to some of the top dogs out there, you might be surprised at how high the standard is these days! It's very intimidating sometimes, not gonna lie.

Yes, it does seem that the people who are negative about writing production music don't really understand it. For me it gives a much better work/life balance than it would if I'd stuck to TV and film.

I've also had a huge amount of fun on some of my albums, and written stuff that no film production would ever ask for as a score. It also means that I work with orchestras on a regular basis, without having ridiculous deadlines.

However, I do understand that production music is not everybody's cup of tea.

 

[Arbee]

I'd like to suggest this thread be made a sticky, it contains so many invaluable insights and perspectives as a reference resource.

 

[Markrs]

@davekropf has created a video that discusses this thread and the interesting questions it raises regarding production music Vs media scoring as well as quantity Vs quality.

 

[Ivan M.]

I was wrong, there’s some really good library music.

 

[sundrowned]

Here's me on the third week of a two minute cue

It's a good thing I don't have to make a living out of this.

 

[davekropf]

Here's me on the third week of a two minute cue

It's a good thing I don't have to make a living out of this.

Don't sweat it, my friend! You be you and just keep plugging along!

 

[KevinRAlexander]

So, I'm approaching this topic from two different perspectives. As a composer, I'm a newbie. Although I've been a musician for 25 years, and have dabbled with composing off and on over the years, it's only been in the last year or so that I've really given it a go at all. But... my sole focus is to write production music. Why? Because I'm a commercial video editor and have been using production music every day for years. And as an editor, I'm looking for tracks that help me tell a story. Some of the tracks I have used move me... deeply. Granted, if I'm editing a commercial it may just be a nice uplifting track that's pretty generic. But not all production music is "corporate music", and I think that's what too many people assume. Just throw together a bland happy track with muted electric guitar arpeggios and crank out as many of those as possible. The documentary shorts I work on are often modeled after something you might see on Investigation Discovery, and so there is a mixture of emotional cues as well as tension cues. And many of those tracks stick with me years later. And being exposed to so much of it inspired me to specifically write production music because I can see the possibilities with it. If you enjoy doing something and can make a living doing it, then that's all that matters.

 

[Emmanuel Rousseau]

So, I'm approaching this topic from two different perspectives. As a composer, I'm a newbie. Although I've been a musician for 25 years, and have dabbled with composing off and on over the years, it's only been in the last year or so that I've really given it a go at all. But... my sole focus is to write production music. Why? Because I'm a commercial video editor and have been using production music every day for years. And as an editor, I'm looking for tracks that help me tell a story. Some of the tracks I have used move me... deeply. Granted, if I'm editing a commercial it may just be a nice uplifting track that's pretty generic. But not all production music is "corporate music", and I think that's what too many people assume. Just throw together a bland happy track with muted electric guitar arpeggios and crank out as many of those as possible. The documentary shorts I work on are often modeled after something you might see on Investigation Discovery, and so there is a mixture of emotional cues as well as tension cues. And many of those tracks stick with me years later. And being exposed to so much of it inspired me to specifically write production music because I can see the possibilities with it. If you enjoy doing something and can make a living doing it, then that's all that matters.

Thank you for this! It's great to read.