SOUND ON SOUND
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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.
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.
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.
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.
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...
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?
Bob Dylan’s album of Sinatra covers is an unlikely triumph. So good, in fact, that it didn’t need mixing!
A simple song and an outrageous video turned Robin Thicke from a star to a superstar — with the aid of master mixer Tony Maserati.