Which Path Do I Take?

Do I compose music for Film? Do I compose music for games? Do I become a sound designer? Shall I become a professional pianist?

Well, this blog post is going to be about me laying my options out on the table and what I think will benefit me the most. You, as the reader, can be my audience and maybe this blog will help you figure out the path that’s best for you.

I can say now that by the end of this post I will still not know what path I want to choose to go down but I will at least have a plan ready. As I write this, I am still currently on my Master’s course but once I’ve graduated, I’ll be out into the real world and I will need some guidance.

Film, Game, Sound Design and Piano are the 4 pathways that I have chosen analyse. I will outline the pros and cons of each pathway to make a clearer view on which career would benefit me the most.

Firstly, for my research, I looked up interviews with industry professionals. I watched interviews with Film and TV Composer ‘Sherri Chung’, Games Composer ‘Laura Shigihara’ and Sound Designer ‘Karel Psota’.

I made notes whilst watching each video to outline the pros and cons of their profession.

‘In the Studio with Composer Sherri Chung’ notes and annotations:

-She’s classically trained

Like myself, I too am classically trained, so I feel I have an advantage

-She didn’t “stumble” into the job, every decision she has made is the reason she’s where she is today

This shows that I must work hard and not wait for something to happen in order to be successful

-She started by designing sound for ‘Blindspot‘ (2015)

I can use sound design as a gateway to Film and TV composing

–Technology is necessary as it’s hard to present yourself without it

In the interview, she explained she uses the music software Logic and recommends that you must present your work electronically as that’s the industry standard. This is reassuring to me as I’ve been presenting my work electronically for years and I too use the software Logic.

You need patience and to build up a relationship with producers and directors

This was useful to me as I have yet to work with producers and directors but at least I will know to be patient and understanding when it comes to working with other professionals.

Mixing engineers will do the work for you

One thing I was always worried about was the fact that if a director wants live music, I’d have to compose the music, orchestrate it, conduct the orchestra and mix the live recordings. I have done this on a small scale but never as big as a full orchestra but Chung made me aware that there are people who can do that for you.

‘Interview with Games Composer Laura Shigihara…’ notes and annotations

Classically trained on the piano

Like Chung, Shigihara is classically trained and on the piano too. Seems like most composers have that skill under their belt, something I need not worry about.

Her first soundtrack she composed for free and then was hired

This is a huge risk that Shigihara took, her humble attitude towards her music meant that she was setting herself short but luckily it paid off. This is inspirational to me as I have composed music for free for fellow game and film students and if I need to take that risk in future I will but I shall not set myself short.

Don’t compose melodic patterns as this can grate on the player’s ears

I have composed subtle and ambient tracks before due to an assignment that requested this. My lecturer wanted our class to compose tracks suitable for gameplay and none should be noticeable or constant. I would be prepared to write tracks for games as I’ve had the experience before but only in class.

Game composing is different to film composing as it’s not linear

This was something that worried me as I am not too aware of the technical side to music implementation in games, I struggled with this in assignments where I had to implement audio into ‘Unity’ (A Game Engine’) but the composition side was very much enjoyable as it was linear.

Interview with Sound Designer Karel Psota… (2018) notes and annotations:

There are different ways to create an income as a sound designer, one is to release your album of sound design and sell it or work for a music production company, according to Psota, both are successful but contain flaws. Money is higher in the music production companies but expect a delayed payment by 4-6 months. Owning your sound design and selling it is a stable and “passive” income but it’s dangerous to have your name out in the music industry as a solo artist because if you do a misstep, you could tarnish your image.

This interview was more of an insight into how to make a living in that line of work. This was extremely helpful as not only did he discuss different paths of sound designing, he wasn’t biased and gave an honest opinion of each path to go down.

I was a pianist before I became a composer, so I know that no matter what, I will always have my piano to fall back on. I didn’t need to research into interviews with Pianist’s as I feel confident enough to identify as an industry experienced Pianist myself. Before I came to University I was teaching piano to anyone who needed to learn, I was also performing at award ceremonies and weddings but when I came to University, the Piano wasn’t my main focus anymore and composing became my passion.

After research into these four pathways, I concluded that being a Film Composer feels like the most exciting path for me to take, although similar to Game Composing, Film and TV has a much more linear approach and I can be inventive with my music whereas game music seems restrictive as repetitive melodies and certain musical approaches are not recommended. Sound design is interesting however it has only just become new to me and to give up composing would be a real shame. The Piano will always be my back-up career, I have received a degree in Music and qualifications grading my Pianist skills, I feel confident that if a career in composing doesn’t kickstart, then Piano will be my fall back and I can honestly say that I will be happy with that, as long as I’m teaching piano, performing at venues, weddings or just doing something that involves music, I’ll be quite content.

Sources: SAMPLE LIBRARY REVIEW Interview With Sound Designer Karel Psota • Trailer Sound Design: From Source To Cinema Instructor(2018) {ONLINE VIDEO} 9 MAY 2018, ACCESSIBLE BY LINK: https://www.youtube.com/watch?v=qgIn1TMHLRg&t=1309s (video accessed on 6th December 2019)

COLOGNEGAMELAB Interview with Games Composer Laura Shigihara (Plants vs. Zombies) (2012) {online video} 7th March 2012 https://www.youtube.com/watch?v=x7_9rzSMP7U (video accessed on 6th December 2019)

SOUNDIRON In The Studio with Composer Sherri Chung | Soundiron (2019) {online video} 11 March 2019 https://www.youtube.com/watch?v=fsCrvvV0694 (video accessed on 6th December 2019)