Discussion in 'Working in the Industry' started by JohnG, Aug 13, 2008.
90% of music I hear is not very good so there is money in average quality music.
Yes, but the three things you need to know are:
1. How much the licence fee is for that usage
2. How much the Royalties are for that TV channel
3. How many other composers are also pitching the same sort of rubbish.
You have 3 good points
I've been doing this a long time...!
Thanks for your thoughtful posts @Daryl : ) I got in the library game at the beginning of this year and have only focused on quality so it's comforting to hear your experiences. Do you have a site where one could hear more of your work?
I was only describing what I thought were the reasons behind the success of Daryl and Aaron.
I probably should have mentioned, beyond it being orchestral, talent, perseverance, thought. Etc etc.
there's probably more money in non orchestral.
But you can't just say, "I'm just gonna do what I do". But that HAS to be part of the decision.
Another important issue was brought up by stixman.
You can't listen to what's on air and say, "OK I'll do that". It might be crap and in the program cause the composer is the producers brother. I mean. You don't know how the music got there.
You always have to shoot to be way better than what you are hearing. You have to make an impression. You have to be discovered and not thrown in the circular file.
You have to present something new or different that solves a problem (fills a slot perfectly).
I've noticed recently while listening that the pieces chosen for trailers has something striking about it. Not difficult not amazing but striking.
Most music is some kind of underscore. That's not really a description of trailer music because it needs to drive the narrative. (But it's still a sort of underscore)
I've always said that the most important thing is your composition is the IDEA.
So understanding your target; then being creative with a striking idea. My 2 cents.
Sure. Here's a recent video for a start.
Great stuff , Daryl !!
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