Happy Christmas! John and I went to feed the ducks down in Crookes Valley Park (it's a Christmas tradition!). The lake there was frozen over completely save for a small corner that the ducks thronged in. Anyways - the ice was making weird sounds. It seems to make this odd sonar-like sound when the wind …
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This is a very small announcement (well, HUGE to me but really shouldn't impact on most readers!). I've taken a step back from the string trio. Not a decision taken lightly, it was part of an inevitable trend of moving in the direction of doing what I love rather than doing it for the money. …
Continue reading "When Doing It For The Money Just Doesn’t Cut It Any More"
This is a response to Deb Walsh's post over on One Cool Free Idea - a call for advice for her son who's wrapping up high school and readying to go into the entertainment management business. If I were to go back in time, say, 10 years, and meet myself then as a 21-year-old, just …
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2010 has been awesome, more so than 2009, which was pretty damn cool in itself. I expect 2011 will follow the trend, but now I'm thinking about what I can do to help push 2011 into the stratosphere.
Miasma is the new Xbox Indie game from ESP Games, featuring no fewer than three tracks from yours truly. This is fairly momentous for me as I think it's the first time my compositions have appeared in a commercially available video game. Yay! New page in the credits section methinks... Anyways, the game is coool! …
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When I was a wee young lass, I was taught in History lessons that a picture might tell a thousand words, but depending on the title or caption accompanying it, those thousand words could be very different. It's the same with music. Putting a title on a piece of music can radically alter the spin that the listener puts on it. When creating music for film or theatre, the title of the piece is irrelevant to the audience. They aren't going to see the title anywhere. It is the picture that informs the effect and meaning of the music, and vice versa. However, when creating tracks for production music libraries, the title and description seem to be vitally important. You cannot afford to let the music just speak for itself.
At the moment I've got rather an easy-going carry on. I'm loving it. But there's this little niggling part of me that's feeling awfully guilty about it and keeps trying to justify this rather easy going schedule.
Anthology is going strong. The reviews have been in the main positive. That show is well and truly up and running.
Which begets the dreaded question: Now what?
I have just this very day finished a full draft of musical score for Anthology, an epic series of shows produced by the indefatigable Slung Low in association with the Liverpool Everyman. Wooh!
From the Slung Low site:
7 routes. 7 stories. Told in different places on different paths in Liverpool. Take your chance, take your seat and discover which story chooses you.
Now, don't get me wrong. I'm not condoning quantity over quality. But sometimes needs must as the devil drives, and quite frankly you didn't realise at the time what you signed up for... that the deadline would be quite so tight.
51 Marketing Ideas for Film Music Composers is my most recent column for SCORECastOnline.com. I've wracked my brains to come up with all the ways I can possibly think of to market yourself as a film music composer, and this post is the result. I'll tell you what's worked for me, what hasn't, and what …
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