No-one likes having their work criticised, especially when the criticism is baffling, surreal and second-hand. But thats the lot of todays composer for the media.
It doesnt do to get too precious about audio quality. In fact, sometimes a bit of lossy compression might be just what your music needs.
So you want to be a media composer? Paul Farrer reminds us that its not about the music you love, its about whats right for the show.
Sample libraries are the modern media composers most important asset — so its a shame that using them in real-world projects can land you in legal hot water.
Its wonderful to be able to give something back to young people who are eager to learn about life in the studio. If only they were better prepared to receive it.
How to get ahead in the business? Honour thy deadlines, have no other gods before work, and dont commit murder unless theres a particularly juicy commission at stake.
Want to be a media composer? Get used to being the most anonymous cog in the TV production wheel.
The musical challenges involved in composing for TV can be intimidating enough, but its the legal documents that are truly scary.
Music commissioning has always been squalid. But today's composers get a fairer deal than Mozart ever did.
When it comes to music technology, truth can be stranger than fiction.
You can't please all of the people all of the time. Even when they are on the same production team.
Some broadcasters will stop at nothing to save money, even if that means blatantly ripping off composers. So always look at the small print before you leap.
There's a place for art in almost everything — even music for TV.
Its lovely to be appreciated — up to a point...
CD technology? Eight-note polyphony? Things were getting pretty exciting back in 1985.
The only way to make money as a media composer is from publishing — but greedy production companies are targeting our back end with a vengeance.
Where there's a newly independent republic struggling to establish itself on the world stage, there's an opportunity...
The world is full of products that promise to make our music better. But will clients or audiences notice the difference?
Online delivery means fewer ways for things to go wrong, but it also makes media composers more faceless than ever and robs us of some vital excuses.
We all want our names to be associated with famous TV programmes, right? Well, it depends what they're famous for...
Title? Composer for the media. Job description? Squaring the circle...
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