Sam does things a little differently to me. In fact I should be doing some of thi things he is doing, however we need to pace ourselves when we include new things, and as sam said. There’s many roads forward in composition.
Sam is very good with confidence, that’s his main tool. He’s quite happy to join a forum and add the best composers and then inbox them for a chat.
He also has a secret weapon, he’s the musical coordinator for Siix audio trailer music. This sounds exciting but it isn’t. This basically means he’s the guy people send trailer tracks to and communicate through for syncs. Because of this he gets a LOT of emails, and because his job is very hands on with clientele he leans into that. So the best composers will often get found on social media by sam and they might collaborate.
I do this to an extent too, but generally it’s not as “cheeky” as how sam does it. I don’t join forums and then add everyone in the hope to get work, that just isn’t me… unlike sam I’m more interested in helping and education of music. So as you herd in the video, I do mixing and mastering MUCH MORE than sam. I get that work by inboxing people who post about wanting those services… I’m good at it because my background is based on it. Obviously my background is in Composition too, I have lots of backgrounds but mixing has been more comfortable for me in the past. This is simply down to a confidence issue I have and nothing more. Sam has this too, he’s a good mixer but he leans into composition because he’s not as confident with his mixes… despite his skills being just as good or even better. We all have this in different areas.
Another portion of his work comes from writing library music. Working for a library, sam used that to get better at his craft. He was getting rejections from Siix for 2 full years before they started including his work in their albums… and he still hasn’t got a sync… however, Sam also does sound design for them and works with the mantra “quantity NOT quality”. I 100% follow this too. Even in composition I velieve you need to get your track finished and move onto another quickly… and when I say finished I mean, conclude your track, mix in an evening, ask for feedback, implement that feedback and then move on. On your next track you make sure you do what you were advised. Then simply repeat this cycle. This boosts productivity and as you write more you learn more, in both composition and mixing alike.
This goes for sound design too. If I’m making sounds for Trailer, EDM, Film, Pop or whatever it is. I make sure I don’t spend any longer thann10 minutes for one sound… and that sound would be a complex sound for me.
I was talking to Mikael about this. If I’m creating a riser or a patch for a sound then usually I’m only spending 1 to 2 minutes on one sonyd. I save it and bounce out the sound. So I’m one hour I have 30 sounds. I might do that for 3 hours and then at the end I pick the best… so what do I do wirh the others… I stick them back in my daw and I mix two together to make a new sound and repeat. At the end I pick the best out of them too and add them. Then I have say 50 good sounds along with the knowledge of creating 90 sounds from scratch. ANC with that repetition I’ve not only learnt how to create those sounds, I’ve created muscle memory and improved on work flow too.
Sam does exactly that and most of his money per month comes from his hits or risers being synced to film… NOT his music. When I said I should be doing what he does, this is what I should be doing as I’m just as good if not better at sound design. He’s been very clever in focussing on what will make money… and plus, sound design can actually be even more fun than composition because it’s quick gratification.
Sams last source of income comes from a website which I’m apart of called “Music Jobs”. Yep it’s as straight forward as that. This is the number one place where music jobs are advertised IN THE WORLD. It’s a subscription to be a part of it per year but it always has payed above and beyond the Sub. I totally recommend it.