Frequently Asked Questions

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Welcome to this FAQ page!
This is a work in progress (including the formatting :-S ) so, if you have any questions you’d like to get answers to, submit them in the form at the bottom of the page.

Looking forward to hearing from you!

  1. How did you start getting clients/find paid work?
  2. What training do you have to be a film music composer?
  3. What equipment do you use?
  4. What sample libraries do you use?
  5. What did you or your teacher do in your music lessons (pre-college) that helped you become a good composer?

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    How did you start getting clients/find paid work?

    After finishing the Masters in composition for film at Bournemouth University, I proceeded to send approximately 200 CDs and VHS showreels to all of the production companies locally in Yorkshire and nationally across the UK that I could find addresses for. Several got back to me with positive feedback, and two of them led to paid work on corporate (non-broadcast) productions.

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    What training do you have to be a film music composer?

    Whilst I don't believe any formal training specifically in writing music to picture is necessarily essential to get into the business, it can certainly give you an edge and a little more confidence in your abilities.

    I have a Batchelors degree in Music from Sheffield University and a Masters in Music Design for the Moving Image from the Media School at Bournemouth University, and formal training in violin and piano.

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    What equipment do you use?

    On a regular basis I use my Mac Pro, Logic Studio and Behringer Truth monitors with an M-Audio Firewire Audiophile soundcard.

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    What sample libraries do you use?

    I like to keep it simple - I'm a regular user of Vienna Symphonic Libraries sounds, and like to augment these libraries with a little bit of home-grown sound design every now and again.

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    What did you or your teacher do in your music lessons (pre-college) that helped you become a good composer?

    Studying Grade 5 theory at Sheffield Music School was a godsend. Understanding harmonies and inversions and cadences and then being able to hear them too in aural test training was so unbelievably useful i can't begin to describe, and i can't imagine composing without first understanding interval and harmonic relationships described in language.


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