SOUND ON SOUND
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It’s tempting to think that success is about who you know — but in fact, it’s about what you do.
Despite great progress elsewhere in the TV business, music for the media is still overwhelmingly dominated by men. Why?
A reputation for competence is vital — and to get it, you need to take every opportunity going.
To get a job in the media you need to do a job. Specifically, you need to write a pitch that will blow the doors off.
Persistence is a virtue every composer needs, but you can take it too far.
Sometimes a make-or-break opportunity can make you and break you...
Every TV producer knows the value of a good ‘ssssccHHH PRRRgghhh’. How are you going to give them what they want?
It’s only when you look back that you realise how far you’ve come...
Sound libraries are great, but making your own sound effects is more fun — and more individual.
Choosing the right publisher can make a huge difference to a composer’s career. But is there any choice left?
The faster the pace of progress, the harder it is to keep up.
It’s easy to ignore the question “Is it any good?” — but job satisfaction lies in keeping it in mind.
All TV people lose faith in their abilities sometimes, but at least no–one blames the composer when things go wrong.
TV composers won’t change the world — but the fact that we’re needed at all can be significant.
The more serious your responsibilities get, the more important it is to lighten up now and again.
This month’s Notes From The Deadline is brought to you by former DJ, apprentice sound engineer and guest columnist Terry Trihard.
You might be the next Mozart, but if you can’t meet impossible deadlines, no-one will hear your music on TV.
It’s always vital to give the client what they want. Even if what they want makes no sense.
The ability to take criticism is a vital skill for the media composer. The ability to make sense of it is much harder to learn.
Music for the media isn’t rocket science. It’s far more important than that.