It’s hard to make something new. It’s even harder to make something that’s both new and old.
Power corrupts. And absolute power terrifies...
Everyone’s patience has limits — but as a professional, you should never reach them.
Renowned TV composer Paul Farrer begins a new series of despatches from the front line by asking: what sort of person do you have to be to succeed in the cut-throat world of music for the media?
Get a few commissions under your belt and you might start to think you're a big name in the world of music for the media. But as far as the people who make television are concerned, there's no such thing...
Progress is a wonderful thing, if you're a composer of music for the media and you dream of a poolside studio in the Bahamas.
Credits can be a vital resource to the media composer, but they can also be a ball and chain.
We might be used to rapid technological change – but is our audience?
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.
Beware of TV executives bearing publishing contracts...
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...
The greatest enemy of original music in TV and film is, well, the original music.
Your showreel can say a lot about you. And if its going to get you work, what it needs to say is: trust me.
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'.
Theres learning, and theres education. And when it comes to music technology, the two arent always connected, believes Paul Farrer.
Pitching for work is frustrating, time-consuming and, unless youre very lucky, unpaid. But at least the best demo (usually) wins.
Almost everything about being a composer of music for television is a gamble, except getting paid. Thats two gambles.
Will your music become immortal, or simply indigestible? Its all about context.
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.
The global financial meltdown would never have happened if only KPMG had modelled themselves on KPM.
As they say oop north: where theres virtual brass, theres muck.
Create an account