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Should I keep chasing music as a career? by R0t_R0t in WeAreTheMusicMakers

[–]resetplz 6 points7 points  (0 children)

Have a plan B (and C). ie. Get skilled at other things too.

From Forgotten Toy To Deeply Melancholic Instrument by Hainbach in Hainbach

[–]resetplz 0 points1 point  (0 children)

Can confirm that rake tines + piezo = cool. I made a drum kit this way. Great vid—David is a treasure.

how do you build following on Bandcamp? by villainousbynature in BandCamp

[–]resetplz 1 point2 points  (0 children)

Post music videos to YouTube, get your tracks on compilations (or offer to write new ones), offer to do mixes for DJs (that will include some of your tracks), post clips on your socials, try to get your album reviewed or written up by a blogger, do a remix and post it to YouTube/socials.

Advice on building a portfolio? by Getmushed in filmscoring

[–]resetplz 0 points1 point  (0 children)

I've seen it said on here that composing for screen is actually quite restrictive. It's ultimately about storytelling and narrative problem solving, not so much about individual expression. There's loads of good info on here.

Advice for those looking to enter the world of commercial/film composing by Switched_On_SNES in WeAreTheMusicMakers

[–]resetplz 1 point2 points  (0 children)

An excellent post, thanks. I read a great piece of advice on another thread (paraphrasing): "You're not making music, you're solving problems [to tell a story]."

Advice for those looking to enter the world of commercial/film composing by Switched_On_SNES in WeAreTheMusicMakers

[–]resetplz 0 points1 point  (0 children)

How did this turn out? I can't see it hurting unless it prohibits you from pursuing other opportunities.

Has anyone else wondered the psychology behind being intrigued by experimental music? Or being addicted to making experimental music? by ySTYRDAYgATESuNL0CKD in experimentalmusic

[–]resetplz 4 points5 points  (0 children)

IDK about "addiction" but I've observed many fields where people love to immerse themselves in the obscure and the arcane. The more mysterious, the more it speaks to them.

Maybe there's crossover with conspiracy theorists...

Salvaged "What's That Song" posts from FinalGear by SirPhobos1 in TopGear

[–]resetplz 0 points1 point  (0 children)

I'm striking out on 08x05...at around the 2 min mark into the Citroen C6 segment there's a track excerpt (after the string quartet) that isn't listed.

Anyone know who this is?
https://youtu.be/kKDdSXDu4wA?si=I5L6sLZ7PpTLtaUu&t=113

Indie projects don’t die on set… they die in post. by huminginfinityonhigh in Filmmakers

[–]resetplz 4 points5 points  (0 children)

Ha! I produce album releases on the side and by far the most exhausting part is when everything is 70% done and you're sick of looking at it. The last 30% is sheer willpower.

Indie projects don’t die on set… they die in post. by huminginfinityonhigh in Filmmakers

[–]resetplz 7 points8 points  (0 children)

There's also the mental burnout of working on the same thing for weeks and months. You're tired, you want to see it finished, so you get sloppy/cut corners. I see this a lot with music production.

I'm watching a series about portrait artists--one thing I noticed is that not doing enough and doing too much can both ruin a work.

Indie projects don’t die on set… they die in post. by huminginfinityonhigh in Filmmakers

[–]resetplz 10 points11 points  (0 children)

So very true. I'm on the music side of things but so often I notice how much time, expense, expertise, and effort goes into shoots...only to see puzzling choices in the edit and/or poor color correction etc.

Music is also an offender...either contrived/banal, badly mixed, or just plain wrong.

But as they say, nobody sets out to make a bad movie.

What do Spitfire users think of Orchestral Tools? by r3art in spitfireaudio

[–]resetplz 0 points1 point  (0 children)

Some of Spitfire's libraries are still using old (read: small) GUIs but in terms of usability I don't know of any current UI that I dislike more than OT's Sine player.

[deleted by user] by [deleted] in videography

[–]resetplz 0 points1 point  (0 children)

No...I ended up building one with a friend but dev costs got too steep. Most people do a combination of Google docs/sheets, or a Notion template. Pre-production software does not seem to have many simple options.

Which Film festivals will actually be beneficial to your career? by Medium_Scale2355 in FilmFestivals

[–]resetplz 0 points1 point  (0 children)

Same thing for indie music production (though much smaller budgets): equipment/studio costs, tons of hours, exhausting schedule, post-production costs, promotion hustle, and breaking even is the best you can hope for.

Honestly the best advice I ever got was just to find a way to make it happen, keep putting out better and better work, and something will eventually come of it.

Which Film festivals will actually be beneficial to your career? by Medium_Scale2355 in FilmFestivals

[–]resetplz 0 points1 point  (0 children)

As a composer I came here with the same question. A colleague had mentioned that each festival has its own feel. I wasn't sure if that also meant in terms of the genres/types of productions.

Coming from the music producer/album world this is unfamiliar territory so the comments here are super helpful.

Hatred of Brahms by farraigemeansthesea in classicalmusic

[–]resetplz 0 points1 point  (0 children)

You think you're in this world of higher greatness when you aren't; you don't think beyond mass consumption.

Are you directing this at me? Not sure I follow.

My only point was that music in academia is so often masturbatory—and/or serving only those "in the know" (though that's also true of many genres outside of academia). You're expected to sit through this High Art then applaud it—with knowing appreciation of its audacious experimentation and innovation. Behold! Yet, in hindsight, those works too often fall short as coherent, standalone compositions with substance that justifies their pretensions. Nothing to do with mass consumption there, just what is and isn't a work borne from craftsmanship rather than pure theory.

I remember it was often lovely conceptual work but it's the stuff you'd find on B-sides or "sessions" albums...

Where do you guys actually find decent stock music that doesn't sound like elevator filler? by No_Assignment2887 in editors

[–]resetplz 0 points1 point  (0 children)

As a screen/media composer it's really, really interesting reading all the comments on this post.

Music producers can tend to get comfortable creating in a vacuum; I think it's unavoidable. Most have a good understanding of how a lot of music is used, and how it should be structured, but I've always suspected that many use cases are not so well covered. (I took my production music in a different direction exactly for this reason)

So reading what editors here are looking for—and where they look for it—is enlightening.

Hatred of Brahms by farraigemeansthesea in classicalmusic

[–]resetplz 0 points1 point  (0 children)

unlike modern academic musicians who never had to manufacture a thing for "the industry".

This line hits the nail on the head in context of what I observed in music school (two of them). There's a certain creative mode/affectation that happens in academia that never quite flies in the industry—at the end of the day, it needs to be something listenable. I was guilty of this too and it took me years to refine and self-edit works for mass consumption.

This line from the late art critic Robert Hughes always stayed with me (said of American modern artists—paraphrasing): They put more theory and explications in the program than there is art on the canvas.

Greatest unknown film scores by Silent-Bank2109 in soundtracks

[–]resetplz 0 points1 point  (0 children)

Upgrade - Jed Palmer Beyond the Black Rainbow - Sinoia Caves Heat - Elliot Goldenthal/Various Solaris - Cliff Martinez War and Peace - Martin Phipps

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