r/composer

Hey. So I've been trying to get into vgm composing and just musical production altogether. When I was 14 I messed around and did some midislaps and flp edits but that was about as far as I got in under a year. 8 years later I open FL and recreate a bunch of songs from games I like, specifically "Spamton" from deltarune and float islands from kirby super star specifically. Eventually I even composed a little 8 second song all on my own. I thought it sounded nice. I did them all pretty good and entirely by ear, and before that I did a bunch of by ear recreations of songs on my dad's old messed up keyboard. Anyways, I try to recreate the overworld theme from "the frog for whom the bell tolls" or whatever the hell that game's actual most accurate translation is. I pretty much fucked up entirely. The shape of the melody itself was similar but I was so off on almost every exact note. It was just super sobering, doing a bunch of shit that i thought meant i had promise, only to stumble into something I just couldn't beat with effort alone.

It had me thinking, because a person i know who is also a musician had done an arrangement of that song at 13 years old. I really don't know if practice is gonna be the thing that takes me to the level I want to be. It really seems like that in most music related things, talent matters the absolute most. Idk. I just need a second opinion, or a couple from people who have experience.

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Hi everyone!

I'm a 16-year-old filmmaker from the Netherlands, and I'm currently finishing my short film The Silence of Day. I was originally working with a composer, but unfortunately he had to step away from the project, so I'm now looking for someone new.

About the film:

The film follows Bram, who wakes up one morning to discover that everyone around him has disappeared. He explores his completely empty hometown and slowly learns to live in this silent world. As the story progresses, he starts to realize that he might not actually be alone.

The film is already finished, so it would be nice that you can start working as soon as possible.

The film is mostly quiet, atmospheric and mysterious, with some horror elements towards the end.

I'm looking for music that feels:

- cinematic and atmospheric

- lonely and slightly unsettling

I'm open to different styles and ideas, so DM me if you're interested!

This is a low-budget personal short film, so I unfortunately can't offer a professional fee, but I'm happy to discuss what I can offer and give full credit for the music.

Thanks! 🎬

simple as that, but don't know where to start. I have the skills to make film music, but just don't really know where to begin. I work on logic and reaper.

are there any experienced people in this side of the music industry who could give me some advice on where to start?

thats all, good day people :)

Hi Everyone, I am a passionate 14 year old Australian composer. I hate the modern style and personally believe the greatest classical music period was the classical period (1750-1809) - I know this is not the exact actual date, but that was the year Haydn died and music had definitely had begun to transition to romanticism by then . Of course I fully admit that divine masterpieces where created in all of the musical periods both before and after, however I personally believe the classical style to be the best, because it combines he best of baroque (counterpoint, fugues, some harmonies, dances/meters, genres and some instrumentation), but also has its own genres, harmonies, motifs, forms and still uses Latin and focuses on religious music. So really it has the best of both, and that is why I believe it to be supreme - as well as producing the Greatest Composer to ever live - Mozart. It also produced his lesser contemporary Haydn, who I believe is severely underrated and also a truly great composer. It also gives the story of the film Amadeus - one of my favourite films. Anyway, to get to the point, In my Composing I Always compose in a classical style, using strictly classical period compositional techniques. Every single piece I have written - while not all masterpieces, has sounded extremely convincingly classical. Do you think it is alright to continue a compositional career writing in a classical style, or will I need to write in a modern style If I want to get work/commissions? Please let me Know and I Will attach my latest composition for feedback soon.

Thanks.

Hi, I'm a young filmmaker, and I'm starting to make my own shortfilms, and my biggest problem is music's copyright, so I'm looking for young composers who would like to colaborate without getting payed, so that we can help each other out, if you're interested, I'd be glad to send you some of my work, Thanks!

I've finished my first EP. This is by far the most time, money, and genuine effort I've ever invested into a project. The songs were professionally recorded and produced with session musicians, and I own 100% of both the master recordings and the underlying compositions.

I'm registered with PROs (ASCAP and BMI) and have also set up my own publishing entity with its IPI Number.

I'm now trying to figure out what the next step should be. I'm particularly interested in sync opportunities for film, TV, games, etc., as I think some of the songs could potentially work well in those contexts.

I've mostly handled everything myself so far, but marketing and getting the music in front of the right people is where I struggle.

Would you recommend just releasing it using a music distributor like CDBaby and try to market it all by myself, or would it make sense to approach established music publishers, independent publishers, sync agencies, or music libraries with the finished EP?

And when approaching these companies, what's the normal way to submit music? Could I just send them private streaming links, MP3 attachments rather than the WAVs, etc.?

I'm based in the UK and I've spent the past 6-7 years writing for non-exclusive licensing sites and have ended up having lots of usages of my music on TV (as well as radio and online) in US, Europe and Australia. I've earned more and more each year from PRS/MCPS but for most of those 6-7 years earned almost nothing from PPL UK. I did however receive a payment (of around £500) recently from PPL from usages on Cable TV in Belgium specifically which I found odd as I haven't earned much from PRS/MCPS from Belgium but have earned substantially more via PRS/MCPS from other European countries. I am the sole contributor both as composer and on the recording side, so any royalties earned from my music are all paid to me. Can anyone answer the following questions:

1. In the UK there's PRS/MCPS who collect royalties for the composer/publishers, while PPL UK collects for the audio recording rights holders and performers. Do other countries have seperate organisations like the UK does or is there single CMO's who collect all the royalties and pay out to PRS and PPL separately? If so, how do they allocate the royalties for the compositional/publishing side vs the recording/peformer side? If my track is used in a TV show in Germany, does anyone know what I'd get comparatively (as a percentage/ratio) on the compositional side vs the recording/performer side? Would I earn the same as a composer for my track being used as I would for being the only person involved in the recording of the track?

2. I learned that in the UK, PPL does not collect for usages in TV commercials, is this the same rule for what is collected by the CMO's in Europe/US for the recording rights royalties?

If anyone knows the answers to any of these questions I would be very grateful! PPL and PRS give me some answers on the phone but their staff are fairly limited in their understanding of how everything works on an international scale.

Thanks!