As they say oop north: where theres virtual brass, theres muck.
The global financial meltdown would never have happened if only KPMG had modelled themselves on KPM.
All too often, faking it represents the easy way out for the media composer. But if you can put in the effort to keep it real, youll reap the rewards.
Will your music become immortal, or simply indigestible? Its all about context.
Almost everything about being a composer of music for television is a gamble, except getting paid. Thats two gambles.
Pitching for work is frustrating, time-consuming and, unless youre very lucky, unpaid. But at least the best demo (usually) wins.
Theres learning, and theres education. And when it comes to music technology, the two arent always connected, believes Paul Farrer.
Only in the perverse world of music for the media could composers be asked to rip themselves off for money. Its time to take a stand against the rise of the 'soundalike'.
Your showreel can say a lot about you. And if its going to get you work, what it needs to say is: trust me.
You thought your music was just right to start with, so why are people telling you to change it? Because theyre paying you — and because they might actually have a point...
Beware of TV executives bearing publishing contracts...
When it comes to pitching music to TV executives, there are only two golden rules. The first is to meet the brief, however sketchy it might be. The second? Never, ever try to be cool.
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