Ok. I have a bit of a question that may get people a bit shouty, but it's an honest question I have. Why make and record new samples? What is the point? There are plenty of sound libraries out there, especially for beginner composers like myself. After all, aren't clients more likely to want natural and already used sounds and textures, rather than having a sound of a rusty gate or something odd ball in the score? I know samples can be incredibly situational, but I'd really like to know what's the point of going through the process of making new ones when there are others out there. Thank you. :)
Because no one else will have them. You have to imagine sampling (well if you do it right) is like recording music one note at a time. So the question is do you want other people's recordings on yours? And if sample libraries are really popular what is the danger of a director listening to one of your peer's pitches and then yours and you're both using the same sound set. Sure you'll use them differently, possibly? But they are like instruments so they will often shape the way you write. This is why Spitfire makes so many libraries, we want to increase the choice people have so there is a greater sonic diversity out there to keep our industry vibrant and very much within the zeitgeist. I often compare sample libraries to sonic DNA, if you have a reduced DNA pool you get cousins marrying and stuff and thats when it all goes to shit. (hope that wasn't too shouty)
@@TheCrowHillCo (not at all too shouty) My pushback would be is there a danger of sounding too original? Perhaps trying to be too unique then? I guess perhaps it's a balance of using what's out there, and then mixing it with the unexpected in a way that marries nicely as not to get buried in the mix?
@@bryzalpha No... its about sounding original, I promise you. Every media composer you meet will tell you every time they get a new commission they're asked to reinvent the wheel. Directors know that to do anything profoundly different with production is difficult, the one area they can mix stuff up is music. The more polite you are with your reel, the less work you'll get I absolutely assure you. Obviously make it listenable, and beautiful but just not derivative, there's enough people out there doing that, safe hands are just that, people that producers turn to time and time again for a safe approach, you're not going to be able to break into THAT marketplace without ooodles of experience, so go in different and I promise you, you'll come out making safe orchestral music in the end!
So, to back up Christian with the sounding original thing. When I was in uni, 3rd year I think, we had a module where we had to make a track, and it was all about production, not my strong point. Anyway, I decided to call my project "Music made with non-musical sounds". I hit pots and pans together, used a wine glass drone, ripped paper, etc. My lecturer loved it, emailed me and asked to use it as an example for future classes, because it stood out. In my 4th year I had other students compliment me on the track after hearing it in the same class. There's things I would change now, but at the time I had no experience with with sampling, but I took a risk and it paid off. That track is on my channel called "Desertion" if you want to hear/see what I'm talking about. But I feel this backs up Christian's point about being as unique as possible.
I'm a student who lives in London, and therefore my disposable income is very minimal. I can't afford the latest sample packs- so I sample because I have to- whether its for my own projects, or to sell my packs in order to fund more samples. So the point of making samples for me is based purely on income (and because its fun). To contextualise this in the world of professional film composition, you could point to what John Powell was forced to do with Bourne Identity for budgeting reasons. The sonic palette of that particular film is the catalyst of an extremely low budget. With a higher budget, the score could have been completely different, as well as losing the sonic characteristics it became famous for. The way I view samples libraries like IKEA furniture. It's quick and convenient to build, but a million other homes have exactly the same furniture (just in different layouts and colours). If you want to stand out and be unique, make your own!
Wow. I was hoping for a tweet, but instead got a 12 minute video in response! Thank you so much for taking the time to answer! The bit about what I’ve done vs. what I can do was the thing that was that I was struggling with. This advice is fantastic and I’ll be putting it into action as soon as I can. Again, thank you. You and your videos are an incredible resource. And yes, your assumptions are correct - fledgling composer at the beginning of my career. While I have a handful of credits I’m proud of, I have not done the music for any hardcore porn, as unfortunate as that is. Maybe one day. 🤷🏻♂️
10:40 - I felt the need to listen to Williams after this. "Just give them the first chord of Star Wars." "Anything else, John?" "Nah." Thanks for the video, Christian! It was very helpful!
"Boobs and willie out" classic! Awesome advice!! One of my best demos was me on mandolin and Bear McCreary on accordion on a short film for a USC director.. it started my career (it was 5 years later though when that same directors landed a Sony film). Bear had not even started working for Richard Gibbs yet --- for those who do not know, Bear did not land BSG, that was Richard and he was his assistant-- BM got that because RG wanted out of it. That is an amazing story of assistant to composer big time.
I was recently asked to put together a showreel and I remembered this video I watched months ago. I took your advice and just sent it to them. Wish me luck! :)
I am not even close to a showreel but this video gives such a clear path for the journey. So much great advice.Thanks Christian for giving away the keys to the shop once again. Now its time to get the pad and pencil out and make notes to the second listen of this video.
This is my favorite version of Christian. Provoked by a question, struggling not to rant (and losing the struggle), and sharing it from the heart. Thanks as always. Keith
Just came across this video and wanted to say thanks so much for making it. I'm trying to put together a showreel; and I've been making weird electronic music for over a decade, and wanted to use the handful of film / radio work I've done as a jumping-off point to hopefully get myself out there a bit more. Stumbled on this looking for some kind of guidance, and it's pretty much exactly what I wanted to hear -- (the big centrepiece of my showreel originates from me and my mate recording construction sites and this knackered projector that was so clogged with dust it made this weird squeak). Erm, yeah. So thanks massively! And 'Alien Isolation' was a stunning achievement.
Ok I love this channel obviously but did anyone else think it funny that at the most serious and passionate part of the rant, the dogs entered the scene frolicking around without a care in the world! love the channel!
I am somebody with background in drum&bass doing orchestral mockups, thank you for thinking of our kin! For the last few years I have been working mostly with publishers/libraries (not directly directors/producers), and quite a few of them have specifically asked to submit only "2-3 of your best tracks". Thinking about it, I notice these are boutique publishing houses who specialise in a specific sound, as opposed to the large Universals/WC. Still, very familiar and fitting points brought up for any kind of showreel, thank you!
Hi Christian, another great topic here. I was wandering what your thoughts were on having a visual reel as opposed to just an audio reel? And what you've found directors etc. ask to see more? You mention 12 tracks here, instead of 12 clips from projects. I'm sure it depends on the nature of the gig but would you lead with an audio reel and then provide a visual reel when asked? It's obviously music they want to hear but I imagine a lot of people would want to hear your music in context and see how it affects story and visual. Also, would you recommend stitching together clips / tracks into one single file or link to a playlist with individual full pieces, so people can browse? Thanks :)
Arriving late to the dance but found the details very consuming. Really great advice but I have still not got any idea "How to Make a Showreel"🤔 Did love the dog chase on the peak as a distraction!
Super advice. I played in a band, we recorded an album which was quite popular so a single was identified for release. We paid to have it remixed by a well known producer as the ‘radio people’ wanted it to be a bit more edgy!! His advice was cut out the unnecessary intro. He shorten the intro to 2 bars and it sounded great. I guess what I’m trying to say is don’t waste any of your precious showreel with fluff. If nothing has happened after 8 bars, the producer will move onto the next person. Hit them early and hit them hard!!!
Well this might be the most motivational video I've ever seen in my life! Thanks for the wise words, Christian. I'd better start editing my showreel....
I've been quietly following this blog since the beginning. I always enjoy your content, even though the vast majority of it isn't relevant to my chosen musical field. I have to say that this is the single most inspiring video I have ever watched! I'm off to wave my willy all over my symphonic death metal project.
Great advice! You want to be as bold as you can be and show your client what sets you apart. Be creative and also try to show how much you can do with only the bare minimum of resources. How much can you take away and still achieve your goal.
"If this is what he can do with dog barks...", the loose shoes in the dance audition, the "nutter on a hill"... there's so much gold in this episode. Brilliant! PS: Is it considered animal cruelty if I sample your stepping on the dog's tail?
Some people do have the problem of dividing their time. How much time to concentrate on writing music versus creating sonic art. Both activities can be fun, but sometimes you just want to fire up a couple of lovely string and piano libraries, and write the best melodic music you can. But I take your point about standing out from the crowd. Sometimes it can be a difficult choice. I listened to Peter Sandberg when he recorded at Spitfire and it sounds absolutely authentic and gorgeous. I love sitting at the piano and writing melodic music just like this. Then I listen to Christian doing a demo with the Spitfire libraries and it fires me up to go into the box. I find it hard to satisfy both worlds.
Hi Christian, I would love to hear your opinion on a video showreel vs. an audio showreel. And if an audio showreel is best, should it be a continuous medley, or a playlist of cues. Thanks for the great video(s)!
I'm in the process of doing mine at the moment and this has made me rethink the whole process and get a bit more creative, great advice as ever. (That story of your mums shoe trick in auditions is amazing)
Yes! working on my composer reel update really need to approach the editing like a movie trailer, fast cuts.....it can’t drag....good point on sounding like yourself and focused sound music.....and your ability to create
Back in the day, I was an assistant to an A&R guy at Capital records. We would receive 1-200 demo cassettes. (Yes I did say cassettes. Dates me I know) per day. So, previewing anyone's reel was very brief at best. He would pop in a cassette, first song starts, 1 to 2-bars in? and it either went to the trash or onto a pile he called listen to track 2. It was called the "hook" then and still is today. What makes the director say to himself, Hmmmmm, nicely played. Or, " I like the emotional feel of this"., etc.. So, I'm going back into my reel and freshen it up.
Interesting point about keeping it simple as in maybe 1 or 2 instruments. Putting say 12 cues down, I would say don't have all the cues sound samey, we would prob tend to put all our big production orchestral stuff down but I would think the best thing is yes, maybe 1 or 2 of these pieces (but not too long) but also like Christian says, very minimal tracks with just a couple of instruments. Also I would put in those 12 cues, a variety of styles (if you can write like that and I do believe you do need to be able to write in a variety of styles) like electronica and rock and jazzy and so on to give them options.
Hi, there are tones of requests. But this would be immensely helpful to an already working/starting composers (to addition to what you already said about toxic directors etc.). How can we wrest info from the directors on the music direction? What questions can we ask them? How can we help them, tell us what they want? For now best option is to share reference music froth and back. But in commercials, with companies and theirs big clients it's even more complicated and the feedback/direction can change dramatically any time :P. Often I think all they want is just to not f*ck up, so they keep info about the project to themselves :P. I know, it's partly theirs job, probably it's easy for experienced directors. But it often gets tricky for me and my clients (great people most of the time), especially limiting the communication to the e-mail. Either way thank you Christian for all your work here.
I love your videos, I'm not a soundtrack composer (at 51 way too old to start that) but love the music and the mix of styles, you're comments from 9:06 onwards would fit fantastically into a techno track, I've got to have a play with that
Hey Christian, 2 request if you could possibly accommodate at some point. 1. Could you do another stream of you during a recording session? You did the one large on in Air that was a few hours long a couple years ago, and that was such a fantastic experience as someone who mainly only works in small studio's. 2. A interview of your brother and his partner would be cool since they have such a deep perspective of the video game industry and making music in that world. Would be cool to hear their thoughts on workflow and making non linear music! Thanks!
I love ‘orchestral’ texture(s), but honestly, one of the main reasons I include it in my work is because I live on a small island in the Sargasso Sea...when I pull an ‘orchestra’ out of my pocket-I’m that much more interesting :)
One thing I struggled at first was length, structure and blend,. It has to be short, to the point and not sagging. For sound and picture, I tend to create customized reels - that in general are project specific.
Thank you so much for these videos, they're brilliant and the advice is greatly appreciated! Do you have advice for finding a manager/representative for a songwriter? There's such a difficulty getting in contact with these agencies, and most refuse to look at the willy without it submitted by referral! Where does one even start? Also, is it worthwhile to share original song demos on youtube, for example, if they're aren't yet published, or do they lose their value if you intend them to be pitched to an artist? Thank you again for the channel, so glad to have subscribed!
This is great! Highly thought provoking. Suggestion for a future vlog, how do you keep up on current trends in film/tv music? Do you make time to listen to soundtrack albums, or watch at least an episode of show that’s being talked about a lot?
Great vid Christian. Audio or video for a showreel, or a combo of the two? Obviously audio means you're presenting yourself as the sole focus and can smack the listener about a bit, whereas video shows you can write to picture and weave music in and out of dialogue. Always a tricky balance I find! Any insight appreciated :)
Hmmm. I just sent people to my website as that’s all my music on it. All varied styles. Do you guys make a showreel for each genre? I thought the website would of been the best bet!
Hey Christian, what is your workflow for transferring kontakt heavy logic projects between computers? I am getting a laptop for composing while traveling but I fear having to tell kontakt where the libraries are installed (external SSD) every time I switch systems. My main rig has my libraries installed on an internal SSD.
What is the delivery method in this advice? Given that it’d be new creations, I’m assuming it’s not to picture? Been banging my head against a wall and this video gave me the clarity I needed but still unsure about how to “deliver” it.
Excellent video! As it happens, I'm pitching for the (first time) for a student game project they are currently doing in my city. They are developing multiple (mobile) games and I've been thinking for days what I should send them since there are so many genre of games involved...aaargh.
Hey Christian! Very informative video as ever. Can I ask you (and the community) how people actually present their showreel (maybe more specifically when cold pitching) On your personal website? Soundcloud? Zip file? Might be an obvious question just wondering if there's a best way to skin a cat Thanks for another great vid
Yeah I'd like to hear too... the main issue arises with copyrighted material (ie stuff you've written for films) and the quagmire we're in with that at the moment.
Hey Christian, every once in a while you point out that you don't have formal training and don't read (or write) music. I'm wondering how you actually work, that is, what is your process from idea to score? If you treated this in detail already in a video, I seem to have missed it.
I'm very surprised that you are recommending 12 tracks, Christian. I think there is virtually no chance that any producer is going to listen to them all, even skipping through. I would say half that number maximum, and I would even go as far as to say stick to three tracks. Your best ones, very different hopefully, but ones that will have an impact straightaway. Something which will prick people's ears up after they have already skipped through dozens of contributions. Totally agree - no generic orchestral stuff, that is generated by the yard these days. Most of all, have an identity - that is only you could have come up with this stuff, is most definitely not 'library music' or trailer music, and is not afraid of being disliked by some. You will never appeal to everybody, and if you try you will appeal to no-one. They really don't care how many Spitfire libraries you have, or what DAW you use, or that you can do impressions of Hollywood composers. They do care if you surprise, engage and move them. And they want that reaction quickly, like in a film, not after wading through portentous intros or half a dozen tracks. They will decide within a few bars if they are interested in keeping listening. They will skip through the first few tracks, then move on if you haven't grabbed them.
Yes, getting people to listen to a reel is a totally different film, but reels play a massive part in nailing new jobs. You have to remember that the directing fraternity is ridiculously liquid. People moving up, people moving down, people moving out. So the frame of reference is perpetually shifting, this for the large majority of us save maybe half a dozen people at the top will be our calling card. So daring to be different is a big ask for many when your livelihood depends on it.
Ok. I have a bit of a question that may get people a bit shouty, but it's an honest question I have. Why make and record new samples? What is the point? There are plenty of sound libraries out there, especially for beginner composers like myself. After all, aren't clients more likely to want natural and already used sounds and textures, rather than having a sound of a rusty gate or something odd ball in the score? I know samples can be incredibly situational, but I'd really like to know what's the point of going through the process of making new ones when there are others out there. Thank you. :)
Because no one else will have them. You have to imagine sampling (well if you do it right) is like recording music one note at a time. So the question is do you want other people's recordings on yours? And if sample libraries are really popular what is the danger of a director listening to one of your peer's pitches and then yours and you're both using the same sound set. Sure you'll use them differently, possibly? But they are like instruments so they will often shape the way you write. This is why Spitfire makes so many libraries, we want to increase the choice people have so there is a greater sonic diversity out there to keep our industry vibrant and very much within the zeitgeist. I often compare sample libraries to sonic DNA, if you have a reduced DNA pool you get cousins marrying and stuff and thats when it all goes to shit. (hope that wasn't too shouty)
@@TheCrowHillCo (not at all too shouty) My pushback would be is there a danger of sounding too original? Perhaps trying to be too unique then? I guess perhaps it's a balance of using what's out there, and then mixing it with the unexpected in a way that marries nicely as not to get buried in the mix?
@@bryzalpha No... its about sounding original, I promise you. Every media composer you meet will tell you every time they get a new commission they're asked to reinvent the wheel. Directors know that to do anything profoundly different with production is difficult, the one area they can mix stuff up is music. The more polite you are with your reel, the less work you'll get I absolutely assure you. Obviously make it listenable, and beautiful but just not derivative, there's enough people out there doing that, safe hands are just that, people that producers turn to time and time again for a safe approach, you're not going to be able to break into THAT marketplace without ooodles of experience, so go in different and I promise you, you'll come out making safe orchestral music in the end!
So, to back up Christian with the sounding original thing. When I was in uni, 3rd year I think, we had a module where we had to make a track, and it was all about production, not my strong point. Anyway, I decided to call my project "Music made with non-musical sounds". I hit pots and pans together, used a wine glass drone, ripped paper, etc. My lecturer loved it, emailed me and asked to use it as an example for future classes, because it stood out. In my 4th year I had other students compliment me on the track after hearing it in the same class. There's things I would change now, but at the time I had no experience with with sampling, but I took a risk and it paid off. That track is on my channel called "Desertion" if you want to hear/see what I'm talking about. But I feel this backs up Christian's point about being as unique as possible.
I'm a student who lives in London, and therefore my disposable income is very minimal. I can't afford the latest sample packs- so I sample because I have to- whether its for my own projects, or to sell my packs in order to fund more samples.
So the point of making samples for me is based purely on income (and because its fun).
To contextualise this in the world of professional film composition, you could point to what John Powell was forced to do with Bourne Identity for budgeting reasons. The sonic palette of that particular film is the catalyst of an extremely low budget.
With a higher budget, the score could have been completely different, as well as losing the sonic characteristics it became famous for.
The way I view samples libraries like IKEA furniture. It's quick and convenient to build, but a million other homes have exactly the same furniture (just in different layouts and colours). If you want to stand out and be unique, make your own!
Wow. I was hoping for a tweet, but instead got a 12 minute video in response! Thank you so much for taking the time to answer! The bit about what I’ve done vs. what I can do was the thing that was that I was struggling with. This advice is fantastic and I’ll be putting it into action as soon as I can. Again, thank you. You and your videos are an incredible resource.
And yes, your assumptions are correct - fledgling composer at the beginning of my career. While I have a handful of credits I’m proud of, I have not done the music for any hardcore porn, as unfortunate as that is. Maybe one day. 🤷🏻♂️
Dylan! I'm sure I'm not the only one to think, hey - I'd love to see your reel when it's ready! Good luck to you sir
10:40 - I felt the need to listen to Williams after this.
"Just give them the first chord of Star Wars."
"Anything else, John?"
"Nah."
Thanks for the video, Christian! It was very helpful!
Good topic. BUT I love watching your pups run about and play.
"Boobs and willie out" classic! Awesome advice!!
One of my best demos was me on mandolin and Bear McCreary on accordion on a short film for a USC director.. it started my career (it was 5 years later though when that same directors landed a Sony film). Bear had not even started working for Richard Gibbs yet --- for those who do not know, Bear did not land BSG, that was Richard and he was his assistant-- BM got that because RG wanted out of it. That is an amazing story of assistant to composer big time.
truth has been spoken. you have 1 bar to capture someone's interest. that's it. thanks Christian for putting your insights so succinctly.
I was recently asked to put together a showreel and I remembered this video I watched months ago. I took your advice and just sent it to them. Wish me luck! :)
I arrived here as an actor looking for showreel advice. What you have said is so good. Thank you Christian. The ego, let it go I love it. Focus.
I am not even close to a showreel but this video gives such a clear path for the journey. So much great advice.Thanks Christian for giving away the keys to the shop once again. Now its time to get the pad and pencil out and make notes to the second listen of this video.
This is my favorite version of Christian. Provoked by a question, struggling not to rant (and losing the struggle), and sharing it from the heart.
Thanks as always.
Keith
3:02 - "Everyone has access to orchestral sample, sorry about that." LOL
Just came across this video and wanted to say thanks so much for making it. I'm trying to put together a showreel; and I've been making weird electronic music for over a decade, and wanted to use the handful of film / radio work I've done as a jumping-off point to hopefully get myself out there a bit more. Stumbled on this looking for some kind of guidance, and it's pretty much exactly what I wanted to hear -- (the big centrepiece of my showreel originates from me and my mate recording construction sites and this knackered projector that was so clogged with dust it made this weird squeak).
Erm, yeah. So thanks massively! And 'Alien Isolation' was a stunning achievement.
You sir, as always, are an inspiration, as I *finally* update my show reel after 20 years of working in the TV biz :)
Great tip that I can actually act on!
Ok I love this channel obviously but did anyone else think it funny that at the most serious and passionate part of the rant, the dogs entered the scene frolicking around without a care in the world! love the channel!
i noticed they commenting
I am somebody with background in drum&bass doing orchestral mockups, thank you for thinking of our kin! For the last few years I have been working mostly with publishers/libraries (not directly directors/producers), and quite a few of them have specifically asked to submit only "2-3 of your best tracks". Thinking about it, I notice these are boutique publishing houses who specialise in a specific sound, as opposed to the large Universals/WC. Still, very familiar and fitting points brought up for any kind of showreel, thank you!
one of your best videos, great out-of-the-box thinking
05:33 - "The nutter on a hill with coffee and dogs and swearing" - new twitter bio??
Hi Christian, another great topic here. I was wandering what your thoughts were on having a visual reel as opposed to just an audio reel? And what you've found directors etc. ask to see more? You mention 12 tracks here, instead of 12 clips from projects. I'm sure it depends on the nature of the gig but would you lead with an audio reel and then provide a visual reel when asked? It's obviously music they want to hear but I imagine a lot of people would want to hear your music in context and see how it affects story and visual. Also, would you recommend stitching together clips / tracks into one single file or link to a playlist with individual full pieces, so people can browse? Thanks :)
Arriving late to the dance but found the details very consuming. Really great advice but I have still not got any idea "How to Make a Showreel"🤔 Did love the dog chase on the peak as a distraction!
Super advice. I played in a band, we recorded an album which was quite popular so a single was identified for release. We paid to have it remixed by a well known producer as the ‘radio people’ wanted it to be a bit more edgy!! His advice was cut out the unnecessary intro. He shorten the intro to 2 bars and it sounded great. I guess what I’m trying to say is don’t waste any of your precious showreel with fluff. If nothing has happened after 8 bars, the producer will move onto the next person. Hit them early and hit them hard!!!
This channel is a GOLDMINE!
Great Answer!!! Not just some generic “be yourself” advice.
Well this might be the most motivational video I've ever seen in my life! Thanks for the wise words, Christian. I'd better start editing my showreel....
"Imagine someone asking John Williams to put together a showreel." 🤣😂 ....that's too hilarious.
This is gold. Cheers, again(!), Christian
I've been quietly following this blog since the beginning. I always enjoy your content, even though the vast majority of it isn't relevant to my chosen musical field.
I have to say that this is the single most inspiring video I have ever watched!
I'm off to wave my willy all over my symphonic death metal project.
Great advice! You want to be as bold as you can be and show your client what sets you apart. Be creative and also try to show how much you can do with only the bare minimum of resources. How much can you take away and still achieve your goal.
"If this is what he can do with dog barks...", the loose shoes in the dance audition, the "nutter on a hill"... there's so much gold in this episode. Brilliant!
PS: Is it considered animal cruelty if I sample your stepping on the dog's tail?
Some people do have the problem of dividing their time. How much time to concentrate on writing music versus creating sonic art. Both activities can be fun, but sometimes you just want to fire up a couple of lovely string and piano libraries, and write the best melodic music you can. But I take your point about standing out from the crowd. Sometimes it can be a difficult choice. I listened to Peter Sandberg when he recorded at Spitfire and it sounds absolutely authentic and gorgeous. I love sitting at the piano and writing melodic music just like this. Then I listen to Christian doing a demo with the Spitfire libraries and it fires me up to go into the box. I find it hard to satisfy both worlds.
Hi Christian, I would love to hear your opinion on a video showreel vs. an audio showreel. And if an audio showreel is best, should it be a continuous medley, or a playlist of cues. Thanks for the great video(s)!
Thanks for the tips! Putting together a real as studio engineer / producer, but these tips totally apply in a lot of ways!
Bloody hell that shoe trick is pure gold.
I'm in the process of doing mine at the moment and this has made me rethink the whole process and get a bit more creative, great advice as ever. (That story of your mums shoe trick in auditions is amazing)
Yes! working on my composer reel update really need to approach the editing like a movie trailer, fast cuts.....it can’t drag....good point on sounding like yourself and focused sound music.....and your ability to create
Back in the day, I was an assistant to an A&R guy at Capital records. We would receive 1-200 demo cassettes. (Yes I did say cassettes. Dates me I know) per day. So, previewing anyone's reel was very brief at best. He would pop in a cassette, first song starts, 1 to 2-bars in? and it either went to the trash or onto a pile he called listen to track 2. It was called the "hook" then and still is today. What makes the director say to himself, Hmmmmm, nicely played. Or, " I like the emotional feel of this"., etc.. So, I'm going back into my reel and freshen it up.
Interesting point about keeping it simple as in maybe 1 or 2 instruments. Putting say 12 cues down, I would say don't have all the cues sound samey, we would prob tend to put all our big production orchestral stuff down but I would think the best thing is yes, maybe 1 or 2 of these pieces (but not too long) but also like Christian says, very minimal tracks with just a couple of instruments. Also I would put in those 12 cues, a variety of styles (if you can write like that and I do believe you do need to be able to write in a variety of styles) like electronica and rock and jazzy and so on to give them options.
Hi, there are tones of requests. But this would be immensely helpful to an already working/starting composers (to addition to what you already said about toxic directors etc.). How can we wrest info from the directors on the music direction? What questions can we ask them? How can we help them, tell us what they want?
For now best option is to share reference music froth and back. But in commercials, with companies and theirs big clients it's even more complicated and the feedback/direction can change dramatically any time :P. Often I think all they want is just to not f*ck up, so they keep info about the project to themselves :P.
I know, it's partly theirs job, probably it's easy for experienced directors. But it often gets tricky for me and my clients (great people most of the time), especially limiting the communication to the e-mail.
Either way thank you Christian for all your work here.
I love your videos, I'm not a soundtrack composer (at 51 way too old to start that) but love the music and the mix of styles, you're comments from 9:06 onwards would fit fantastically into a techno track, I've got to have a play with that
You're the man Christian and thank you Dylan for the very interesting question! It was great to have a video only outside and not in the shed ahah.
Perfect advice Christian, totally my experience. Walk in the opposite direction of where everybody is going. ;-)
Definitely not going to be making a showreel anytime soon but I’m know they’ll always be gems in the video
Hey Christian, 2 request if you could possibly accommodate at some point.
1. Could you do another stream of you during a recording session? You did the one large on in Air that was a few hours long a couple years ago, and that was such a fantastic experience as someone who mainly only works in small studio's.
2. A interview of your brother and his partner would be cool since they have such a deep perspective of the video game industry and making music in that world. Would be cool to hear their thoughts on workflow and making non linear music!
Thanks!
I love ‘orchestral’ texture(s), but honestly, one of the main reasons I include it in my work is because I live on a small island in the Sargasso Sea...when I pull an ‘orchestra’ out of my pocket-I’m that much more interesting :)
The only reasonable response to this video is to make a track using a sample of Christian saying "boobs, willies."
using the barks as a drone too
Thank you, Dylan !
Brilliant advice, thanks!
One thing I struggled at first was length, structure and blend,. It has to be short, to the point and not sagging. For sound and picture, I tend to create customized reels - that in general are project specific.
This one got me a job I wanted.... despite me being more sound designer them anything else... ua-cam.com/video/4HoHvhsawso/v-deo.html
Thank you so much for these videos, they're brilliant and the advice is greatly appreciated! Do you have advice for finding a manager/representative for a songwriter? There's such a difficulty getting in contact with these agencies, and most refuse to look at the willy without it submitted by referral! Where does one even start?
Also, is it worthwhile to share original song demos on youtube, for example, if they're aren't yet published, or do they lose their value if you intend them to be pitched to an artist?
Thank you again for the channel, so glad to have subscribed!
This is great! Highly thought provoking. Suggestion for a future vlog, how do you keep up on current trends in film/tv music? Do you make time to listen to soundtrack albums, or watch at least an episode of show that’s being talked about a lot?
Great vid Christian. Audio or video for a showreel, or a combo of the two? Obviously audio means you're presenting yourself as the sole focus and can smack the listener about a bit, whereas video shows you can write to picture and weave music in and out of dialogue. Always a tricky balance I find! Any insight appreciated :)
obviously video showreel!
Hmmm. I just sent people to my website as that’s all my music on it. All varied styles. Do you guys make a showreel for each genre? I thought the website would of been the best bet!
is this the best showreel EVER?????
I nearly went there...
Hey Christian, what is your workflow for transferring kontakt heavy logic projects between computers? I am getting a laptop for composing while traveling but I fear having to tell kontakt where the libraries are installed (external SSD) every time I switch systems. My main rig has my libraries installed on an internal SSD.
What is the delivery method in this advice? Given that it’d be new creations, I’m assuming it’s not to picture? Been banging my head against a wall and this video gave me the clarity I needed but still unsure about how to “deliver” it.
Very Inspiring Christian ... Thanks.
Fuck, that made me laugh. Love your passion Christian. Brilliant!
Agreed. Playing it safe is heard everyday and is boring.
Excellent video! As it happens, I'm pitching for the (first time) for a student game project they are currently doing in my city. They are developing multiple (mobile) games and I've been thinking for days what I should send them since there are so many genre of games involved...aaargh.
J-M Linde Music I wish there was the online equivalent of being to send something with a little choccy like I used to do when jiffy bagging CDs.
thank you, Christian
They want the nutter on the hill, with coffee, dogs, and swearing.
tapping guitar with pencils lol
hey christian - do you have a showreel online? i would really like too just have a look at it for reference. ;)
This was reely good. 🤣😂
Take a shot every time he says "Hhhhhh hhhh".
Fucking marvellous! Love it. You god. 😁🤣🥂
Hey Christian! Very informative video as ever. Can I ask you (and the community) how people actually present their showreel (maybe more specifically when cold pitching)
On your personal website? Soundcloud? Zip file?
Might be an obvious question just wondering if there's a best way to skin a cat
Thanks for another great vid
Yeah I'd like to hear too... the main issue arises with copyrighted material (ie stuff you've written for films) and the quagmire we're in with that at the moment.
Christian Henson Music especially if they start using it in the temp!
reelcrafter is great!
🤘🏼🖤🤘🏼
Hey Christian, every once in a while you point out that you don't have formal training and don't read (or write) music. I'm wondering how you actually work, that is, what is your process from idea to score? If you treated this in detail already in a video, I seem to have missed it.
He does it a few times. Just check any video he writes on
holy shit I had no idea!
I'm very surprised that you are recommending 12 tracks, Christian. I think there is virtually no chance that any producer is going to listen to them all, even skipping through. I would say half that number maximum, and I would even go as far as to say stick to three tracks. Your best ones, very different hopefully, but ones that will have an impact straightaway. Something which will prick people's ears up after they have already skipped through dozens of contributions. Totally agree - no generic orchestral stuff, that is generated by the yard these days. Most of all, have an identity - that is only you could have come up with this stuff, is most definitely not 'library music' or trailer music, and is not afraid of being disliked by some. You will never appeal to everybody, and if you try you will appeal to no-one. They really don't care how many Spitfire libraries you have, or what DAW you use, or that you can do impressions of Hollywood composers. They do care if you surprise, engage and move them. And they want that reaction quickly, like in a film, not after wading through portentous intros or half a dozen tracks. They will decide within a few bars if they are interested in keeping listening. They will skip through the first few tracks, then move on if you haven't grabbed them.
Sorry, but I have to ask. Does that puppy ever stay still ?
Be different!!!!!? Who would've thunk it? I suspect it's also a lot of who you know and where you are as much as time lucky.
Yes, getting people to listen to a reel is a totally different film, but reels play a massive part in nailing new jobs. You have to remember that the directing fraternity is ridiculously liquid. People moving up, people moving down, people moving out. So the frame of reference is perpetually shifting, this for the large majority of us save maybe half a dozen people at the top will be our calling card. So daring to be different is a big ask for many when your livelihood depends on it.
How is your Brother?
😴💤