I heard it once said, “If you don’t have anything happening or things get strange, . . . go to school.” These words were intended to provide me with the benefit of it’s dispenser’s many years experience as a musician, negotiating his way through the labyrinth that is, a career in music. When the realities of one’s pursuits are as daunting as the volition of commitment to creative aesthetics, advice from someone with exceptional insight on the subject must be highly valued. He was a very successful musician/educator that had the respect of many musicians and music aficionados around the world. Ultimately, he was compelled to disseminate words of wisdom for the consumption of a novice in pursuit of music’s companionship.

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For composers in the enviable position of getting their opportunity to score that first film, but asked to deliver a score that is beyond the scope of the project’s budget, good luck with that. Beyond the fact that I am being facetious, many composers at all levels find themselves facing such a predicament with increasing frequency and widening disparity in budget and wishful thinking. With the economic climate such that it is, film makers must negotiate the new realities associated with shrinking budgets. Unfortunately for composers, that almost always translates to less money and more time.

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We have witnessed a paradigm shift in the entertainment industry born out of advancements in microprocessor technology.  It has, in effect, rearranged the pathways of access to professional quality tool s, essential to compete with projects well funded by traditional industry stalwarts. By providing casual enthusiasts with unprecedented power and flexibility for a fraction of the small fortune customarily associated with professional level projects of the past.  Today’s novice is able to virtually compete with seasoned professionals, all with the added caveat of the comforts of home.

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