Well said. One of the best experiences I ever had was with a cellist in Culver City. I was green and it was my first time scoring a documentary. He brought his years of experience into the studio and was exceedingly patient with me while we sculpted the performance TOGETHER. Samuel Adler's orchestration text was immensely helpful too and maximized our recording time because I more or less avoided any completely non-idiomatic passages. In essence the music theory worked. I feel most comfortable with live instruments, but I also tried sampling my Toyota earlier this year and, while not exceedingly tech savvy, felt a different kind of rush while treating the resultant sounds and messing with plugins till a novel and non-orchestral sound was achieved. I wish we all had time to master both theory and tech, but I like that you are encouraging composers to not seek after total self-sufficiency. How lonely that would be.
Thank You Christian for spending time with us at the Royal Conservatoire of Scotland last week! A real pleasure to meet you, I'm sure our paths will cross again in the future...
You are hard working fellow Christian! Thanks for all that you do! Sorry I missed the Aperture.. I have so much of your stuff, that I could not really want to spend a ton on things I really was not sure I would use to get Aperture, but it looked real cool! Percussion Swarm was something, but I was a few dollars short, so I opted for your referral to Bunker Strings friends. Thanks for that! The Harmonium and Strings are really great-:) Cheers!
Awesome video, Christian! Thanks for putting in all the time Just adding to my comment, I'm someone who has only worked by myself. I play a lot of instruments on all of my projects and I've learned all by myself. I feel like I've maxed out what I, personally can do by myself. In order to progress, I feel I need to work with others and learn from them. Only issue, is I don't have anybody around me that I found who I can learn from in my small town
Absolutely spot on! I think we feel pressured sometimes into doing it all ourselves but it's important to collaborate and work with different people to expand on our ideas.
Hi Christian! One can always find your insights as both inspirational and as a continuous aspiration on trying to find his/her place in music: on where you possess those competences that make you singular! I specially liked the last part of the video where you talk about what music composers have in common: they can come from very different backgrounds but they all are creators with their unique spark, which differentiate each one of them (thumbs up when you’ve mention Jonny Greenwood :) ). I have a deep appreciation for the content you put out where for all of us, specially for those who might live in a country where there is "little to no-existing” industry and where there’s not a lot of opportunities where you can work as a media composer, as an assistant, as an orchestrator... Once again, thank you for sharing such great insights and also for the honesty on your videos! Kind Regards,
Christian, you’re not only a composer, techie, business man and all the other roles you talked earlier about. But you’re also a great story teller! Don’t forget that one!
Just purchased my first sample library, Epic Strings, as a guy who had a band turning symphony musician after realizing I don't like touring for 15-30 days straight. Keep being awesome Christian.
Beautiful way to start the day! Thanks for all of your video’s slowly catching up on all the uploads. I’m not classically trained or anything but love making music. Thanks for the uplifting words. I was about to quit music until I got to hear you talk about your history. Cheers!
Hi Christian, thank you again for a another inspiring vlog. Disappointed as I'm up in Edinburgh this coming weekend visiting family so will just miss the walk on the 22nd, maybe next year I can coordinate however I might have to bring my makeshift 'Jack Pack' sling to carry my aging Jack Russel once she calls time out. Could think of nothing better than chatting modular or reminiscing about Good Looking Records over a hot toddy in the Park!
Hi Christian. I am just an old beginner on music (started with 49, go figure!). I am 51 now... Well, my aim is NOT to live from music, I know it is not feasible nor is what I intend. But I enjoy a lot orchestration and have good computer knowledge (35+ years on it). My tools right now are Cubase Pro 10.5 and Komplete 12 UCE. I plan to compose music as a hobby, and probably just for myself in the foreseable future (I don't want to hurt anyone ears 😂). But I follow your channel and some others on this topic and I am very glad you take the time to explain things like the ones on this video, even if it is not my aim. It gives me some background, so to say. Thanks!
The sound was okay... I was listening through my iPhone speakers too! Great advice and I love the Christmas lights in the shed! I thought that it was new modular at first 🙂
I am just a part time indie composer who played guitar live for many years but Your the voice of reason, some of the biggest film composers we have came from bands not the academic path which was so prevalent in the days gone past and playing live is emotion, performance and craft so....well I don’t need to connect the dots 😎
I love the moment at 3:40 where the cup on the ground is replaced by a dog and the cup mysteriously finds its way into your hand... As if by magic... The piece by Pauline Oliveros (who died only 3 years ago, aged 84) "Tuning Meditation" is strikingly similar (both in description and in final result) to a piece (or part of a piece) by Cornelius Cardew called The Great Learning Paragraph 7. Do you know the piece? If not, well worth looking out for it! I'm not absolutely sure, but I think it just predates the Oliveros piece - I wonder if she knew it, or whether they came up with the same idea independently - I've read that they were never in direct contact a this time. Maybe if the weather is kind, we can perform Tuning Meditation at the top of Crow Hill on the 22nd! Thanks for another informative and thought-provoking vlog. I put the search for a successful career as trying to work out "what can I do that people will pay me money to do?" Hope to see you at the Winter Solstice walk!
Interesting comments and valuable links to the force that was Pauline Oliveros . I had not heard of this Lady before so I checked her out on TEd etc….brilliant 🧘♂️🙏🙏🏿… the difference between hearing and listening…a valuable ability. …so my weekend is sorted out 😀…..Ways of being bring a new dimension to involvement in composition or indeed any venture .Folks can change ways of being and so flourish for the better. In a synchronous way I listened to a workshop by Benjamin Zanders (renowned conductor) today …. In the TEd talk “The transformative power of Classical music”…I can recommend it….similar experience to the one Christian mentioned with that experiment.Involving people signing one comfortable note …🙏🙏🏿
@christianhensonmusic This is one of you best, most candid, honest, and insightful videos. These are the things that some of us may be aware of, but this validates our beliefs. Thank you for being so giving.
I do agree with your opinion about the role of a composer providing a spark somewhat, however I think it is beneficial for people to understand a bit of what goes on. An example.. I did a documentary back in 1990, where it was one of my first composing gigs, which was about the Life of John Lautner, who was a student of Frank Lloyd Wright, titled "A Spirit In Architecture". He said in the course of the documentary, how Mr. Wright had them working on building Taliesin West, in Scottsdale Arizona, so that they would know what goes on in the construction of a building. He felt that was important for them to understand what is possible. While I feel that this is not always necessary in our world to know EVERYTHING, it has certainly been helpful to me in my work to at least have some grasp of the craft of others to communicate your ideas more clearly to say an orchestrator or to musicians or conductors. I am a former session musician who worked in LA as a brass player on records and film, but also really valued the experience to really been in that world, when it was important to learn those things and I cherish that understanding everyday when I work. I am a tech savvy person as well and do a lot of my own mixing and have mixed features on certain occasions. but do value the collaboration of the process of working with a team. That is a great gift to have for me these days.
Thanks Christian... The insight into realistic monetary expectations from composing is something a lot of people seem to avoid talking about in my experience. Which seems odd in some respects as it is the resource that will allow us to keep doing what we do.
Christian, Looking at your Xmas decor, on the keyboards provoked me with a thought.. Both you and Paul in your studios do not have any rack mounted synths whatsoever / maybe I missed one,??? . Paul had 2 MOTU midi controllers in his studio..no outboard synth racks though. Im just curious.. ..as for myself, I prepared early in the 90s..and bought a 30 space ATA case and filled it slowly over the years, with rack mounted synths, mixers ,recorders, to accommodate my space and all controlled with a sequencer and a Roland A80...I still use them today or course but now connected to an imac..
Hi Christain, I've only recently discovered your videos so have been binge watching for a few weeks now. I'm found them very informative, entertaining and inspiring. Nice work. I have a question that doesn't appear to have been asked or addressed (I could be wrong)...because perhaps it's irrelevant, I don't know. I'm 45, a professional editor for a well known national broadcaster (who uses library music regularly) and have been a musician for 30 years now. BUT I've only just started to really make efforts to get into media composition. So, my question is: Do you think one can ever be too old to 'start' a career in media composition? Apologies for posting here, I wasn't sure where people were sending their questions. ps. I am tech savvy....ish pps. Keep up the splendid work.
Thank you so much Christian! I love how much valuable content you share with us! Could you please make that video you mentioned a bit while ago about ProTools and Logic in more details? Thank you!
Christian - the composer you refer to who does the audience singing piece at 5:11 could well be Pauline Oliveros. If not her, then possibly Joan La Barbara or Meredith Monk.
@@TheCrowHillCo Hi Christian this is for sure Pauline Oliveros and I think the composition is called 'Tuning Meditation' you can experience a recording here on TH-cam: th-cam.com/video/g5bj8sO2-WY/w-d-xo.html
While it's mentioned, I think it's worth reenforcing that most composers you assist have come up through the ranks as musicians, programmers, orchestrates, conductors, music editors etc etc so when they ask you to do something it is almost always from a position of knowing how it's done and, more to the point, how they want it done. This may not chime with what you have been taught or how you have previously done the same task. It's fine to ask questions once the project has been completed or the session has ended and most composers are more than happy to engage. What's not so cool (and I've seen this too many times) is to question the task or how they want it done as there isn't time to justify and explain every task and their having to do so will not only not be appreciated but will earn you a DCM - Don't Come Monday - to boot. x
another great video thanks, i am useless at tech stuff and the BBCSO is my first sound library. It is however pretty straightforward (and really fun .....who knew???) to use for someone like me who doesn't know a stem from a stack.
yes, i get completely what you say. And that was my major insight after finishing my degree in Mozarteum : there is a fetiche for the workin itself. I really apreciate work, but not work on the wrong priorities. I am more focused on music than in handwritten notation now...
Switched the car audio to Radio 3 the other day and what the heck, instantly recognised your voice! Need to listen to the replay as I only caught the Bali vocal palmas'esque and the Steve Reich. It must have been fun to get to do that show and share some favourites! Here's the replay for any UK'ers interested in checking it out, 27 days left to catch it: www.bbc.co.uk/programmes/m000c2rs
Is that the common budget for a BBC series? Or does it vary quite a bit even within BBC? If you wouldn't mind breaking up the cost for the live recording part of 5,000. How many hours do you spend on that and how many musicians and studio fee at a average perhaps?
I'm a classically trained violinist turned Irish Celtic musician and am currently teaching myself piano. While right now I'm just a hobbyist with computer aided composition, I am hoping that a very small, local scale composition project will come my way where I can volunteer my services as a means of gaining experience. Does anyone have any suggestions of where I might start looking? This channel is my main source of information and inspiration so I would take any and all ideas. Thanks in advance.
Great stuff - thanks for sharing. Thanks also for being open about the money- its seldom done. However I can see that model/example you describe failing - 1. when the job is (as often) not one that will get repeats. 2. the production company take half the publishing. 3. its being shown on CH4 not BBC 1. So in general I find that the use of real musicians in any number greater than 2 is impossible. And of course that is why I own so many Spitfire products :-).
The elitism that still permeates the music industry is one of my biggest pet peeves....I won't get on my soapbox just now (ask me again on the 22nd) but i'd hazard a guess that it's probably the single largest contributor to my imposter syndrome.
The sad truth about this is that the return on investment isn't there anymore. The producers have leaned hard on the composers because the composers have made themselves vulnerable to price compression as a result of samples and technology. And of course, far too many composers with limited composition skills such that the supply/demand curve is way off. Producers know that they need not pay on the front end anymore because there is always someone else ready to do the work for less money and wait for the backend carrot (hope springs eternal). That doesn't mean that the end product (the score itself) is as good as it could be, but Producers will react to market forces and look for the less costly solution, and justify their decisions. Unfortunately, this is an accelerating race to the bottom from the commoditization of media scoring that results from technology becoming more available. I don't see this changing anytime soon, although I wish there were better prospects ahead.
I think you'll see through history a slow oscillilation (can't spell) between music being valued and devalued, and revalued again. I have hope, and there are still plenty of people making a good living out there, the points of entry for earning have changed thats all. Again, as a composer you are the CEO of the company that is you so it requires an entrepeneurial spirit to adjust with the times.
Hi Christian - thanks for your prompt and thoughtful reply. I have had a long career in financial services and now as a leader in music composition and teaching. The oscillation can only occur when there is a recognition in an actionable way for producers of value added as distinguished from commodization. For example, in all professions (and their societies) the members break out membership into branded areas of specialization, and then educate the "buyers" of professional services. Take for example, Architects. They divide their firms between the back office (autocad operators) and front end (the architect partners) and work very hard at parsing out services and fees for clients. It is when these lines become blurred that one has a general practitioner where these packages (as described in your excellent video) emerge, and the composer value is relegated to the backend revenue (if commercially successful). Can you imagine going to a brain surgeon and paying a flat fee to include the hospital, technology and support services? Paying the surgeon for success? There are many examples, but my point is until such time as professional societies of composers segment their groups and educate the buyers (producers and directors) as to lawyers, accountants, architects, physicians, etc., the composing world will continue to decline. The successes of a few are not the barometer of success and justification of a flawed business model. Thank you again.
@@Primagency Yes, but from where I'm sitting there are more composers earning more than they have ever done, as I say the point of entry has changed and the means of supporting one's early career has changed. Those who apply a conservative business model (ie one that doesn't adjust to changing market forces) to their business can indeed prove a race to the bottom. I see people making this mistake time and time again with Spotify "1 million streams and only 300 bucks, nice" where 1 million viewers watching 3 minutes of content with your music playing underneath would fetch less with royalties from the BBC say. The main concern for me is there is a readjustment happening in the model where producers are being educated that with no back end the front end needs to be considerably larger. This IS happening, but if we allow the royalty model to collapse before proper up front fees become the accepted norm then there could be a rocky period where we see individuals and production companies hit the wall because of the delayed aspect of royalty distribution. The proof however is in the pudding. Producers and directors greatly value music, they just don't know how to value it financially because it is so fucking complicated. If people didn't value music and always went to the cheapest provider you wouldn't have the likes of Hans Zimmer, or Martin Phipps, or HGW or indeed Carly Paradis not being able to sleep at night because of the amount of well paid work coming in. I have hope Steve I really do, we just need to move with the times and be part of shaping the business models of the future not fighting wars of attrition for models of the past. Thanks for your comments Steve, I've enjoyed this engagement as a means of trying to square this better in my own head! C. x
@@TheCrowHillCo thanks to you, Christian. Good meeting you in NYC recently. We can continue this chat via email scores@compositionoline.com we have an email string going there....thanks again...Steve
Question for the experienced: What would the audio production team on a film (tele or larger) look like on a project with a huge budget versus a bare bones project? What roles are “expendable” or get absorbed/combined by one person? What’s the minimum team you could get away with!?
Scott Brady interesting question, music is strictly a totally separate team to “audio” or rather the sound department as it is more commonly monikered. A quirk of this however is the position of Music Editor (a job often not filled on smaller productions) whilst the ME tends to be the last line of defence for the composer and her or his score the music editors wages tend to come out of the editorial departments budget. The size of the music department is often determined by the composer as head of department and therefore can differ hugely within the same budget bracket. Dario M for example runs a very small crew whereas some Hollywood composers on similar sized film could have a crew that is an order of magnitude larger.
It's the "spark". yes! I think of assistants and extra help as the sous chef or additional cooks to a kitchen with a primary (possibly celebrity) chef. No one complains that Gordon Ramsay didn't actually cook their meal at a Gordon Ramsay restaurant, do they? It his recipe that is the "spark" you are talking about. The creative part being created by Ramsay and prepared by the sous chef. What do you think of that analogy?
Christian: "And tech snobbery, from different places such like and such...."
Dog: "Move over Henson, yer viewers need tae see ma swingin' wilbur!"
Well said. One of the best experiences I ever had was with a cellist in Culver City. I was green and it was my first time scoring a documentary. He brought his years of experience into the studio and was exceedingly patient with me while we sculpted the performance TOGETHER. Samuel Adler's orchestration text was immensely helpful too and maximized our recording time because I more or less avoided any completely non-idiomatic passages. In essence the music theory worked. I feel most comfortable with live instruments, but I also tried sampling my Toyota earlier this year and, while not exceedingly tech savvy, felt a different kind of rush while treating the resultant sounds and messing with plugins till a novel and non-orchestral sound was achieved.
I wish we all had time to master both theory and tech, but I like that you are encouraging composers to not seek after total self-sufficiency. How lonely that would be.
Thank You Christian for spending time with us at the Royal Conservatoire of Scotland last week! A real pleasure to meet you, I'm sure our paths will cross again in the future...
Congrats on breaking 40k subs Christian.
Like these types of vids! March on!
I came just to watch Oscar dig. He never disappoints. Great message as always Christian, thanks again for your time on these.
oh - if only I was paying 40% tax! Another great video. Looking forward to the 22nd.
It must be an awesome feeling when you hear your music performed by a live orchestra.
You are hard working fellow Christian! Thanks for all that you do! Sorry I missed the Aperture.. I have so much of your stuff, that I could not really want to spend a ton on things I really was not sure I would use to get Aperture, but it looked real cool! Percussion Swarm was something, but I was a few dollars short, so I opted for your referral to Bunker Strings friends. Thanks for that! The Harmonium and Strings are really great-:) Cheers!
Awesome video, Christian! Thanks for putting in all the time
Just adding to my comment, I'm someone who has only worked by myself. I play a lot of instruments on all of my projects and I've learned all by myself. I feel like I've maxed out what I, personally can do by myself. In order to progress, I feel I need to work with others and learn from them. Only issue, is I don't have anybody around me that I found who I can learn from in my small town
Absolutely spot on! I think we feel pressured sometimes into doing it all ourselves but it's important to collaborate and work with different people to expand on our ideas.
As a snobby classically trained pianist who studied orchestration, you're absolutely friggin spot on! Love your brutally honest vids! Thank you!🙏🏻❤️
Hi Christian! One can always find your insights as both inspirational and as a continuous aspiration on trying to find his/her place in music: on where you possess those competences that make you singular!
I specially liked the last part of the video where you talk about what music composers have in common: they can come from very different backgrounds but they all are creators with their unique spark, which differentiate each one of them (thumbs up when you’ve mention Jonny Greenwood :) ).
I have a deep appreciation for the content you put out where for all of us, specially for those who might live in a country where there is "little to no-existing” industry and where there’s not a lot of opportunities where you can work as a media composer, as an assistant, as an orchestrator...
Once again, thank you for sharing such great insights and also for the honesty on your videos!
Kind Regards,
Christian, you’re not only a composer, techie, business man and all the other roles you talked earlier about. But you’re also a great story teller! Don’t forget that one!
Just purchased my first sample library, Epic Strings, as a guy who had a band turning symphony musician after realizing I don't like touring for 15-30 days straight. Keep being awesome Christian.
Beautiful way to start the day! Thanks for all of your video’s slowly catching up on all the uploads. I’m not classically trained or anything but love making music. Thanks for the uplifting words. I was about to quit music until I got to hear you talk about your history. Cheers!
Hi Christian, thank you again for a another inspiring vlog. Disappointed as I'm up in Edinburgh this coming weekend visiting family so will just miss the walk on the 22nd, maybe next year I can coordinate however I might have to bring my makeshift 'Jack Pack' sling to carry my aging Jack Russel once she calls time out. Could think of nothing better than chatting modular or reminiscing about Good Looking Records over a hot toddy in the Park!
Christian, sorry to hear about your Dad, my Dad died in May from cancer. Best of wishes to you and your family, mate.
Love everything you do, Christian. Fantastic content with each and every video. Love Spitfire!! Keep up the fantastic work!
Hi Christian. I am just an old beginner on music (started with 49, go figure!). I am 51 now... Well, my aim is NOT to live from music, I know it is not feasible nor is what I intend. But I enjoy a lot orchestration and have good computer knowledge (35+ years on it). My tools right now are Cubase Pro 10.5 and Komplete 12 UCE. I plan to compose music as a hobby, and probably just for myself in the foreseable future (I don't want to hurt anyone ears 😂). But I follow your channel and some others on this topic and I am very glad you take the time to explain things like the ones on this video, even if it is not my aim. It gives me some background, so to say. Thanks!
Another great video Christian. Love the lighting in the back of the shed btw :)
Great video Christian, especially showing the breakdown of a project. These insights are massively valuable so very much appreciate your openness.
The sound was okay... I was listening through my iPhone speakers too!
Great advice and I love the Christmas lights in the shed!
I thought that it was new modular at first 🙂
Thank you for the inspirational vlog as always! TH-cam Beers on me 🍻 🍻 🍻
I am just a part time indie composer who played guitar live for many years but Your the voice of reason, some of the biggest film composers we have came from bands not the academic path which was so prevalent in the days gone past and playing live is emotion, performance and craft so....well I don’t need to connect the dots 😎
Thank you so much for this breakdown. Perfectly clear and such confirming proof that I know what the hell I'm talking about when it comes to it!
I love the moment at 3:40 where the cup on the ground is replaced by a dog and the cup mysteriously finds its way into your hand... As if by magic...
The piece by Pauline Oliveros (who died only 3 years ago, aged 84) "Tuning Meditation" is strikingly similar (both in description and in final result) to a piece (or part of a piece) by Cornelius Cardew called The Great Learning Paragraph 7. Do you know the piece? If not, well worth looking out for it! I'm not absolutely sure, but I think it just predates the Oliveros piece - I wonder if she knew it, or whether they came up with the same idea independently - I've read that they were never in direct contact a this time. Maybe if the weather is kind, we can perform Tuning Meditation at the top of Crow Hill on the 22nd!
Thanks for another informative and thought-provoking vlog. I put the search for a successful career as trying to work out "what can I do that people will pay me money to do?"
Hope to see you at the Winter Solstice walk!
Interesting comments and valuable links to the force that was Pauline Oliveros . I had not heard of this Lady before so I checked her out on TEd etc….brilliant 🧘♂️🙏🙏🏿… the difference between hearing and listening…a valuable ability. …so my weekend is sorted out 😀…..Ways of being bring a new dimension to involvement in composition or indeed any venture .Folks can change ways of being and so flourish for the better.
In a synchronous way I listened to a workshop by Benjamin Zanders (renowned conductor) today …. In the TEd talk “The transformative power of Classical music”…I can recommend it….similar experience to the one Christian mentioned with that experiment.Involving people signing one comfortable note …🙏🙏🏿
Great! Thank you, Christian, for explaining some of this in easily understandable ways. I am aspiring to get into the sync licensing world.
Bless you, Christian. I really needed this right now. Thank you! :)
Extremely insightful and inspiring, thank you for this!
Just to send my deepest condolences, Christian - you and your family are in my thoughts.
Seams like a labyrinth nice video
@christianhensonmusic This is one of you best, most candid, honest, and insightful videos. These are the things that some of us may be aware of, but this validates our beliefs. Thank you for being so giving.
I do agree with your opinion about the role of a composer providing a spark somewhat, however I think it is beneficial for people to understand a bit of what goes on. An example.. I did a documentary back in 1990, where it was one of my first composing gigs, which was about the Life of John Lautner, who was a student of Frank Lloyd Wright, titled "A Spirit In Architecture". He said in the course of the documentary, how Mr. Wright had them working on building Taliesin West, in Scottsdale Arizona, so that they would know what goes on in the construction of a building. He felt that was important for them to understand what is possible. While I feel that this is not always necessary in our world to know EVERYTHING, it has certainly been helpful to me in my work to at least have some grasp of the craft of others to communicate your ideas more clearly to say an orchestrator or to musicians or conductors. I am a former session musician who worked in LA as a brass player on records and film, but also really valued the experience to really been in that world, when it was important to learn those things and I cherish that understanding everyday when I work. I am a tech savvy person as well and do a lot of my own mixing and have mixed features on certain occasions. but do value the collaboration of the process of working with a team. That is a great gift to have for me these days.
Brilliant. My aspirations are quite different, but these insights and principles apply all the same. Thank you!
Valuable thoughts, thank you.
You inspired me not to give up. Thank you!
Thanks Christian... The insight into realistic monetary expectations from composing is something a lot of people seem to avoid talking about in my experience. Which seems odd in some respects as it is the resource that will allow us to keep doing what we do.
Christian, Looking at your Xmas decor, on the keyboards provoked me with a thought.. Both you and Paul in your studios do not have any rack mounted synths whatsoever / maybe I missed one,??? . Paul had 2 MOTU midi controllers in his studio..no outboard synth racks though. Im just curious.. ..as for myself, I prepared early in the 90s..and bought a 30 space ATA case and filled it slowly over the years, with rack mounted synths, mixers ,recorders, to accommodate my space and all controlled with a sequencer and a Roland A80...I still use them today or course but now connected to an imac..
Hi Christain, I've only recently discovered your videos so have been binge watching for a few weeks now. I'm found them very informative, entertaining and inspiring. Nice work. I have a question that doesn't appear to have been asked or addressed (I could be wrong)...because perhaps it's irrelevant, I don't know. I'm 45, a professional editor for a well known national broadcaster (who uses library music regularly) and have been a musician for 30 years now. BUT I've only just started to really make efforts to get into media composition. So, my question is: Do you think one can ever be too old to 'start' a career in media composition?
Apologies for posting here, I wasn't sure where people were sending their questions.
ps. I am tech savvy....ish
pps. Keep up the splendid work.
Stand down. Came across this one which addresses my question. th-cam.com/video/wFl0IEQCllc/w-d-xo.html (the grumpy one)
Thank you so much Christian! I love how much valuable content you share with us! Could you please make that video you mentioned a bit while ago about ProTools and Logic in more details? Thank you!
K Muse yes I’m making that this week!
🥺😍 thank you!!!
Digging the Xmas Modular.
Christian - the composer you refer to who does the audience singing piece at 5:11 could well be Pauline Oliveros. If not her, then possibly Joan La Barbara or Meredith Monk.
Definitely her. We did this in my experimental music class and she was the one who came up with this
frumpy thanks so much I think it may be Oliveros!
@@TheCrowHillCo Hi Christian this is for sure Pauline Oliveros and I think the composition is called 'Tuning Meditation' you can experience a recording here on TH-cam: th-cam.com/video/g5bj8sO2-WY/w-d-xo.html
While it's mentioned, I think it's worth reenforcing that most composers you assist have come up through the ranks as musicians, programmers, orchestrates, conductors, music editors etc etc so when they ask you to do something it is almost always from a position of knowing how it's done and, more to the point, how they want it done. This may not chime with what you have been taught or how you have previously done the same task. It's fine to ask questions once the project has been completed or the session has ended and most composers are more than happy to engage. What's not so cool (and I've seen this too many times) is to question the task or how they want it done as there isn't time to justify and explain every task and their having to do so will not only not be appreciated but will earn you a DCM - Don't Come Monday - to boot. x
Come for the composition career advice, stay for the dogs. ;)
another great video thanks, i am useless at tech stuff and the BBCSO is my first sound library. It is however pretty straightforward (and really fun .....who knew???) to use for someone like me who doesn't know a stem from a stack.
Hi Christian, I was at last years walk now studying Music and Sound design at Queen's Belfast have a peaceful Christmas.
Loving those Christmas lights
yes, i get completely what you say. And that was my major insight after finishing my degree in Mozarteum : there is a fetiche for the workin itself. I really apreciate work, but not work on the wrong priorities. I am more focused on music than in handwritten notation now...
Is that new dog a Toller (Nova Scotia Duck Tolling Retriever)? Looks like one I grew up with!
Switched the car audio to Radio 3 the other day and what the heck, instantly recognised your voice! Need to listen to the replay as I only caught the Bali vocal palmas'esque and the Steve Reich. It must have been fun to get to do that show and share some favourites!
Here's the replay for any UK'ers interested in checking it out, 27 days left to catch it:
www.bbc.co.uk/programmes/m000c2rs
Thank you very much Christian.
Super informative! Thanks!
Is that the common budget for a BBC series? Or does it vary quite a bit even within BBC?
If you wouldn't mind breaking up the cost for the live recording part of 5,000. How many hours do you spend on that and how many musicians and studio fee at a average perhaps?
I'm a classically trained violinist turned Irish Celtic musician and am currently teaching myself piano. While right now I'm just a hobbyist with computer aided composition, I am hoping that a very small, local scale composition project will come my way where I can volunteer my services as a means of gaining experience. Does anyone have any suggestions of where I might start looking? This channel is my main source of information and inspiration so I would take any and all ideas. Thanks in advance.
Hey, Christian. Any chance you could talk about the recent Discovery Networks royalty policy change that is sweeping the industry? Cheers.
Yes, I'm planning a rant about this that I'll be filming tomorrow.
I wonder what kind of RF tones you could get out of this Christmas lights? Or somehow patch them to the modular?
Great stuff - thanks for sharing. Thanks also for being open about the money- its seldom done. However I can see that model/example you describe failing - 1. when the job is (as often) not one that will get repeats. 2. the production company take half the publishing. 3. its being shown on CH4 not BBC 1. So in general I find that the use of real musicians in any number greater than 2 is impossible. And of course that is why I own so many Spitfire products :-).
Great note about using the audience. Check out how Jacob Collier uses his audience: th-cam.com/video/OPtM9PByK_4/w-d-xo.html
great video, thank you :-)
Might pop up from Newcastle again. My fingers ar crossed.
The elitism that still permeates the music industry is one of my biggest pet peeves....I won't get on my soapbox just now (ask me again on the 22nd) but i'd hazard a guess that it's probably the single largest contributor to my imposter syndrome.
Christian, could we hear an example of your sample composed score against the live musician version, for comparison?
Wyshwood Studio good idea... maybe I’ll dig out Tutankhamen?
You're fucking cool mate! I'm really enjoying your videos, thanks a lot!!
Just seen the sad news about your father Christian. Please accept my condolences.
lovely dawg
Thanks for this
nice lights!
Inside no.9 series 5?
Legend
The sad truth about this is that the return on investment isn't there anymore. The producers have leaned hard on the composers because the composers have made themselves vulnerable to price compression as a result of samples and technology. And of course, far too many composers with limited composition skills such that the supply/demand curve is way off. Producers know that they need not pay on the front end anymore because there is always someone else ready to do the work for less money and wait for the backend carrot (hope springs eternal). That doesn't mean that the end product (the score itself) is as good as it could be, but Producers will react to market forces and look for the less costly solution, and justify their decisions. Unfortunately, this is an accelerating race to the bottom from the commoditization of media scoring that results from technology becoming more available. I don't see this changing anytime soon, although I wish there were better prospects ahead.
I think you'll see through history a slow oscillilation (can't spell) between music being valued and devalued, and revalued again. I have hope, and there are still plenty of people making a good living out there, the points of entry for earning have changed thats all. Again, as a composer you are the CEO of the company that is you so it requires an entrepeneurial spirit to adjust with the times.
Hi Christian - thanks for your prompt and thoughtful reply. I have had a long career in financial services and now as a leader in music composition and teaching. The oscillation can only occur when there is a recognition in an actionable way for producers of value added as distinguished from commodization. For example, in all professions (and their societies) the members break out membership into branded areas of specialization, and then educate the "buyers" of professional services. Take for example, Architects. They divide their firms between the back office (autocad operators) and front end (the architect partners) and work very hard at parsing out services and fees for clients. It is when these lines become blurred that one has a general practitioner where these packages (as described in your excellent video) emerge, and the composer value is relegated to the backend revenue (if commercially successful). Can you imagine going to a brain surgeon and paying a flat fee to include the hospital, technology and support services? Paying the surgeon for success? There are many examples, but my point is until such time as professional societies of composers segment their groups and educate the buyers (producers and directors) as to lawyers, accountants, architects, physicians, etc., the composing world will continue to decline. The successes of a few are not the barometer of success and justification of a flawed business model. Thank you again.
@@Primagency Yes, but from where I'm sitting there are more composers earning more than they have ever done, as I say the point of entry has changed and the means of supporting one's early career has changed. Those who apply a conservative business model (ie one that doesn't adjust to changing market forces) to their business can indeed prove a race to the bottom. I see people making this mistake time and time again with Spotify "1 million streams and only 300 bucks, nice" where 1 million viewers watching 3 minutes of content with your music playing underneath would fetch less with royalties from the BBC say. The main concern for me is there is a readjustment happening in the model where producers are being educated that with no back end the front end needs to be considerably larger. This IS happening, but if we allow the royalty model to collapse before proper up front fees become the accepted norm then there could be a rocky period where we see individuals and production companies hit the wall because of the delayed aspect of royalty distribution. The proof however is in the pudding. Producers and directors greatly value music, they just don't know how to value it financially because it is so fucking complicated. If people didn't value music and always went to the cheapest provider you wouldn't have the likes of Hans Zimmer, or Martin Phipps, or HGW or indeed Carly Paradis not being able to sleep at night because of the amount of well paid work coming in. I have hope Steve I really do, we just need to move with the times and be part of shaping the business models of the future not fighting wars of attrition for models of the past. Thanks for your comments Steve, I've enjoyed this engagement as a means of trying to square this better in my own head! C. x
@@TheCrowHillCo thanks to you, Christian. Good meeting you in NYC recently. We can continue this chat via email scores@compositionoline.com we have an email string going there....thanks again...Steve
What's the closest Travelodge type accomodation to the Sheep Heid anyone? Seriously thinking on coming up from Wales.
www.premierinn.com/gb/en/hotels/scotland/lothian/edinburgh/edinburgh-east.html
can i just use garageband to compose and mix my tracks?
whats stopping you
Question for the experienced: What would the audio production team on a film (tele or larger) look like on a project with a huge budget versus a bare bones project? What roles are “expendable” or get absorbed/combined by one person?
What’s the minimum team you could get away with!?
Scott Brady interesting question, music is strictly a totally separate team to “audio” or rather the sound department as it is more commonly monikered. A quirk of this however is the position of Music Editor (a job often not filled on smaller productions) whilst the ME tends to be the last line of defence for the composer and her or his score the music editors wages tend to come out of the editorial departments budget. The size of the music department is often determined by the composer as head of department and therefore can differ hugely within the same budget bracket. Dario M for example runs a very small crew whereas some Hollywood composers on similar sized film could have a crew that is an order of magnitude larger.
It's the "spark". yes! I think of assistants and extra help as the sous chef or additional cooks to a kitchen with a primary (possibly celebrity) chef. No one complains that Gordon Ramsay didn't actually cook their meal at a Gordon Ramsay restaurant, do they? It his recipe that is the "spark" you are talking about. The creative part being created by Ramsay and prepared by the sous chef. What do you think of that analogy?
Thank you Christian for these words as a compass!
Sorry about your dad Christian.
You had me at the 8 mins mark but the audio, lighting, and dogs detract from your message imo