Activity
Mon
Wed
Fri
Sun
Jan
Feb
Mar
Apr
May
Jun
Jul
Aug
Sep
Oct
Nov
Dec
What is this?
Less
More

Memberships

Music Production Mastery

834 members • Free

The Composers' Studio

80 members • Free

Learn Music Composition, 24Nov

424 members • Free

Audio Artist Academy

1.9k members • $3/month

7 contributions to Audio Artist Academy
ā€žPlay it inā€œ vs Keyboard and Mouse
I would be really interested in how you guys normally compose a new Track. Do you normally Play all the parts in with the MIDI Keyboard or are you more of a ā€žputting the notes inā€œ kind of person :D ? If you are playing all the parts in , how do you keep track of the Chord progression (making sure the notes fit into the current chord) ? I normally put the notes in with the mouse but really am trying to get better at the keyboard , as I think this would be a good boost to my productivity if I could play the parts in efficiently.
ā€žPlay it inā€œ vs Keyboard and Mouse
4 likes • Oct 23
I use the keyboard for the initial melody, then add bass, harmony, counterpoint and other supporting accompaniment. When that's relatively stable, I feather in the articulations with the mouse. There's no one way that works for everyone. Having templates saves time before the composing begins. With respect to chord progressions, I typically don't rely on the common ones or even think about progressions. Instead, I focus on the sound that my ears confirm is right.
Don't try to do everything
One of the main reasons composers struggle to get consistent work is they try to do too much. Too many styles on their demo reel, too much information, too many industries they want to get in, too many projects, too high expectations, not enough patience to follow a goal... I see this pattern everywhere: The composer who showcases orchestral, electronic, folk, and jazz on the same demo reel. The one applying to film, games, commercials, and podcasts all at once. The perfectionist spending months tweaking one track instead of building relationships. Here's what happens when you try to do everything: Your demo reel confuses instead of convinces. Music supervisors cannot figure out what you actually do. Your networking becomes scattered. You are talking to everyone but connecting with no one. Your applications disappear into the void because you sound like everyone else trying to "do it all." The composers who get consistent work do the opposite. They pick ONE primary focus and become known for it. Horror film scoring. Retro synthwave for indie games. Corporate explainer videos. They build demo reels that tell a clear story: "This is who I am and these are the benefits I bring to the table." They network with intention, targeting the specific people who need their specific sound. This does not mean limiting your creativity. It means channeling it strategically. You can always expand later, but first you need to be known for something. The brutal truth? Every hour you spend trying to appeal to everyone is an hour not spent becoming essential to someone. The market does not need another composer who "does everything." It needs THE composer who does exactly what they need, better than anyone else. What's your primary focus going to be? Drop a comment below and let's help you get crystal clear on your lane.
Don't try to do everything
2 likes • Jun 27
I agree that composers should focus on one genre. By the same reasoning, composers should focus on composing. Leave mixing, mastering, marketing and YouTube promotion to those who focus on those specialized skills.
Sharing some optimism on royalties
Recent industry reports show encouraging news for composers and songwriters in terms of royalty collections. France’s performing rights organization SACEM reported it distributed €1.379 billion to authors, composers, and publishers for 2024 – a 12% increase over the previous year. This growth was driven largely by booming international collections (up 15% YoY), especially from digital music platforms and social media usage of music. The trend isn’t isolated to France; in the U.S., ASCAP saw its revenues grow 5.7% in 2024, reaching a record $1.835 billion, while Germany’s GEMA reported a 4.7% rise to €1.133 billion. These gains reflect the expanding global reach of music streaming, video games, and online content – more platforms and territories are licensing music, which translates into higher royalty payouts to those who create and publish the music. Source: https://www.musicbusinessworldwide.com/sacems-payouts-to-composers-and-publishers-rose-12-to-nearly-1-5bn-in-2024-on-strong-collections-outside-france/#:~:text=in%202023
2 likes • May 15
I would be interested in knowing into whose pockets the increased royalties were distributed. Are they going to a handful of superstars at the same rate as to the majority of composers? As we know, Spotify’s payment structure was recently changed to the disadvantage of those with low stream counts.
AI Melody generation copyright question
Here's Mr. Beato's most recent video. Check it out if you haven't. My question is, If I were to generate a song with AI, but then recreate it in my DAW note for note, who owns the rights to it? https://www.youtube.com/watch?v=JSswFa8Ta1k
2 likes • Apr 7
I suspect this question will be decided, like so many others, in court. Inevitably, courts in one country may arrive at different conclusions. What little I know about AI and copyright law suggests that if there is no ā€œfingerprintā€ of an AI generated composition, such as in your hypothetical, then my worthless opinion is that there is no issue and you would be free to record and distribute. Be advised, however, if someone else has already provided the same or similar prompts into an AI generator, he or she may have a copyright on that same composition. If so, you could be liable for damages if your music generates revenue.
"Your own Style"
Hey everyone, I hope I'm not the only one who often doubts whether they have their own style. People always talk about the importance of standing out and having a "unique voice" as a composer. How do you deal with it when you listen to music by other composers and producers in your field and think, "Oh well, my music isn’t special, it doesn’t have an exciting twist, or bring anything new to the table"? Sometimes, I catch myself feeling demotivated because of that. I’d love to hear your thoughts on how you approach this!
1 like • Mar 4
I agree with Sean. Just because someone composes it does not necessarily follow that continuing to do so makes one better at composing or will lead to establishing a unique or authentic sound. Great composers’ unique voice typically evolved over time as they reflected and incorporated other musical and cultural influences. It’s quite possible that some of these composers also became uninspired by their own style after a period of time and felt compelled to try something different, whether successful or not. We see this with musicians, writers and visual artists as well.
1-7 of 7
Daniel Green
2
5points to level up
@daniel-green-9064
Trumpet lessons: age 8. Self-taught piano: age 12. Retired from non-music career in 2021; composing since then.

Active 22h ago
Joined Jan 22, 2025
Los Angeles
Powered by