u/Gss_1056

I'm stumped lol. I've tried using spectral gate compressor but it's not even close to that punchiness that I'm looking for. Any advice would be very much appreciated!

edit: it's the bass line that starts at 0:13

Made something for an RPG game. It's the theme for sailors and the port in the game.

Just need help setting goals as someone just starting out. I've been meaning to connect with more filmmakers and game developers that can pay but most of the work I've gotten recently are either revshare or unpaid projects (which is ok, I like working on interesting stuff).

Also wanted to ask on how you usually find people to email and where. I've been scouring X and Instagram but feel like it's unprofessional to send messages in those platforms.

Any advice or help is appreciated. Thank you!

Out here making some modern Doom music for a game. I was going for the style of Dark Ages rather than Eternal. I still love both Mick Gordon and Finishing Move Inc.

(client actually wanted classic Doom music, good thing I had a 2nd version)

NOT AI, I hate that shit

Out here making some modern Doom music for a game. I was going for the style of Dark Ages rather than Eternal. I still love both Mick Gordon and Finishing Move Inc.

(client actually wanted classic Doom music, good thing I had a 2nd version)

NOT AI, I hate that shit

Just had this thought on how hard it must be for non-musician people to explain to you a brief without knowing how to speak the language that we musicians use.

Think of it like this. Music is another planet and the genres we have are different languages. We've spent most of our lives learning the different languages in this planet. We're tight knit or so but then a tourist comes in who then tries to communicate something to you and utterly fails to do so.

It's just funny to me how I've just come to a realization that most of the time we act as translators. It should have been pretty obvious, but I guess I've been living in my own world. I think that's why people become intimidated the most when it comes to music. It's new, and it's.... hard to understand and even harder to learn

Seeing, smelling, feeling, touching, and yes hearing is normal. But hearing gibberish language? I don't think so lol

HOLY SHIT THAT WAS AWESOME!!!

Hey everyone! I'm a composer from the Philippines looking to work on more film and TV projects.

I recently had the chance to score Nurse the Dead, which I believe is the first Filipino series shot in Hollywood.

If you want to check out more of my music, here's my SoundCloud:
https://on.soundcloud.com/L09Ibt6g86ZCk9kO29

I also post project breakdowns and session walkthroughs on my YouTube if you're into the production side of things:
https://www.youtube.com/@gwyne-prd

If you're looking for a composer, or know someone who is, feel free to reach out! You can email me at email@godwayne.com. Always happy to chat and collaborate.

This is so very tiring.

After a very rough meeting with the directors and producer. I feel like I'm about to get burnout with this series. Or, maybe I AM burnt out cause the music I just presented was so fucking ass I would cry if I'm not sleep deprived.

It's just that the deadlines are so tight every day and there's so many cues per episode. I really do feel like it's unfair that I have to score an episode every day and have them expect the best music I can give with the amount of time I have. I can't even choose the sounds I want cause I'm always running out of time.

And then having to come up with a theme for a character in just a day is just crazy work. Now I'm not saying that we as composers shouldn't be able to make a theme in a day, but expecting it to be something you want without a peg is crazy work.

That's all, this is really just a rant of how hard it is in this industry. It won't stop me from pursuing this career but damn it is so hard. I also really regret not asking for more in compensation but I'm also still just starting out.

(Not sure if this is allowed here, tell me if it isn't)

So I'm scoring a dramedy right now and the first four episodes are very light, more comedic and less drama. Then comes episode 5 which has a lot more..... drama to it I guess? It takes on a more serious tone basically.

So since the first 4 episodes are comedic, witty and very light, I scored it the same way. Now, in episode 5 it's kind of hard to score it in a serious way because one thing that I really wanted was continuing the instrumentation and feel of the score throughout the series. I of course, thought immediately that I can use strings and maybe a bit of pads here in there since it kind of called for it as well.

I'm also not sure as to what the director and producer want as they also gave me vague answers to my questions so there's that. What do you guys think? Should I just go with my gut feeling and hope there are no revisions at the end of the day? Or should I keep doing what I do but try my best to match the feel of the episode.

I'm scoring a TV series right now and was wondering if it's ok for me to reuse stinger and transition cues that I used in older episodes. It feels a bit redundant for me to make a new one for each episode lol.

Any tips or advice on this?

Exactly that, how do you pitch to sync licensing companies? Where do I pitch my music to these companies? Is it better if I pitch to sync agents and music supervisors?

I already have a list of companies in mind that I would want to pitch to. The problem is, I don't really know how to. This is going to be my first time pitching so any help would be great!