So, you want to become a media composer?: The most comprehensive guide to becoming successful in the film/TV/media industry, as told by 65 thriving professionals in mini interviews! Paperback – September 19, 2018

First, I must confess that I'm still in the midst of reading this fantastic book! But I just couldn't contain my thoughts, so here is my review :-)There are numerous, fantastic books on the subject of film composition, which include interviews with film composing legends, contemporary powerhouses, and up-and-coming creatives... And I love almost all of them. This one, however, sits in a unique space, in that a crazy mix of composers--50+, from film, TV, video games, trailers, etc.--as well as their representatives (publicists, agents, etc.) all have their say (generally, totaling 3-5 pages per each, making it possible to cover such a diverse mix). The interviewees respond to five questions (ranging from thematic manipulation, instrument choices, DAW/computer talk, use of samples, templates, orchestration, inspirations, "getting started," dealing with directors, temp music, where to live, etc.), which the author personally designed to conjure up thoughts from his subjects. Since this was originally part of the "Perspective: A forum for Film, TV, and Media Composers" forum, all of these interview responses were hand written or typed by the interviewees, themselves. And unlike the typical "interviews" book, none of their thoughts were overly combed through by an editor, so all the quirks and unique qualities of each composer's typing hand are preserved, making it a much more personal, super personality-driven read (their hilarious use of all caps, funny--intentional--spelling choices, etc.).Would also like to add: R.I.P., Beth Krakower, legendary film/tv composer publicist (among many other things), who is profiled in this book in an interview conducted shortly before her untimely passing.Anyways, this is among my favorite books on the subject of film composition, and the insights shared within make this book a indispensable bargain. High five to Adonis Aletras!

For someone like me who composes media music and spends a lot of time alone in my studio in rural Oregon, having in person access to world class composers and their wisdom is extremely rare. This wonderful book is the next best thing to being in a room with these highly talented and accomplished composers. Concisely organized and well focused, the interviews are gems of inspiration that I will refer to for years to come. Highly recommended for composers at all levels!

I love this book! If you are curious about pursuing a career in the media composing field and want to hear about others paths to success then look no further. Filled with stories, advice, and tips from a mix of composers, performers, industry exec’s and sound engineers, this book gives you an easy way to connect with them from wherever you are and whenever you want from the comfort of your own home. Totally recommend this!

This is a collection of 65 interviews with leaders in the field of media composing; not just composers, but also music supervisors, executives, performers and sound mixers. The range of people who are interviewed is quite impressive. Here I summarize what are for me the most important take-aways. At the end of this review, I relate my recommendations.Television studios usually limit orchestra size. To conform with this limitation, Bernard Hermann once composed a score with 6 bass clarinets, 6 bassoons, and 6 double-basses. The highest note was middle-C!Sound effects in films has become sound design, which is not friendly to music.Cinema schools usually ignore the use of music in films. Therefore, young directors simply do not understand the effect that music has on a film. A cynical composer once said that filmmakers need music, but they don't want it. This reminds me of a similar problem in medicine. Most medical schools severely limit (or even exclude) education about nutrition. As a result, most doctors do not understand how important nutritiion is to prevent diseases!Christopher Lennertz had some very cogent remarks about his composing of film music. He said that a composer should respect the story. He writes music that characters might hear in their hearts and minds, rather than what the audience sees. For example, if a character thinks he is a tough guy, then play heavy guitars. If a character thinks he is a hero, then play heroic music, and so on.Some good advice for aspiring composers; be a brand, not a commodity. This means don't make yourself interchangeable with other commodities. Many people in this book interpreted this to mean that a composer should find his own voice. To be successful, you need "to bring something unique to the table." A music score cannot satisfy everyone. An interesting quote: "Artistic death is creativity by consensus.An interesting work-flow advice from Joel McNeely: He starts each film score with two flow charts. One maps out the dramatic intensity of a story, while the other maps out the themes to be played during the film.What do film studios look for when hiring a composer? Talent is a prerequisite, but the important factors are: 1) Credits and experience built over years and hard work. 2) A unique voice and versatility. 3) Reputation. A very important piece of advice about how a composer goes from no credits to having experience and reputation? An aspiring media composer has to be willing to start small, find projects where developers or directors are more concerned with having any music at all.When talking to a director about music for a project, for example during a spotting session, ask him to talk to you as if you are an actor, not as a musician.There is a useful list of references, such as:Composing Music for Games: The Art, Technology and Business of Video Game ScoringThe Complete Guide to Game Audio: For Composers, Musicians, Sound Designers, Game DevelopersAudio for Games: Planning, Process, and ProductionSome useful societies for video game composers:IGDA (International Game Developers Association)G.A.N.G (Game Audio Network Guild)So, what did I think about this book? It is certainly not the first book I've read on the subject. This book is useful for the sheer variety of types of people who are involved in composing, producing and distributing music. It is useful to see the perspectives of many other people who are involved in the industry. The people who are interviewed have incredible reputations and experience, so one should carefully take the advice into consideration. I appreciate that each person interviewed received five separate questions that were carefully chosen to fit that person's experience and background. I definitely recommend this book for those who would like to understand how an aspiring composer gets into the industry.I have two other comments about the book. First, the book sorely needs a good editor! While most of the content is good, it is just filled with typos, grammatical errors, and incomplete thoughts and sentences.Second, the film music supervisors are never asked my most burning question: Why do so many movies end with songs that have absolutely nothing in common with the story, and are even in a different style from the majority of music in the film?

Adonis Aletras really made a big favor to whoever is aspiring to be part of this community of Media Composers, and probably even more to the ones who are already part of it.I found his questions and perspectives (no pun intended) clever enough to bring clarity, and even inspiration to move in a more efficient way in this complex career.

This is stories of who is trying to find a place not show on the map of the industry. If you want to find a place for you, you have to know the map at first. This book shows the ways they explored and gives you the direction to go.

Had a wonderful time reading it! I highly recommend reading it if you want a sneak peek into the emotionally draining and unpredictable world of media music. You'll laugh, you'll cry, and feel better connected with film composers who share your pain and path.

Stellar collection of interviews with some of the top and unknown composers. Really a great wealt if information for anyone wanting to do music for media. (Yes I’m biased of you read my Amazon user handle;)

I can’t recommend enough this book, especially for anyone wanting to break into the media music industry. It has a lot of insightful tips from seasoned professionals from the film, TV and video game industry ranging from composers to agents. I wish I had such a book when I started, it’s easy to read as every interview is just a few pages long. The interviews cover a wide variety of topics from technical to career advice. I highly recommend it!

I have purchased a few music business handbooks over the years, and this one surely stands out as one of the very best. It approaches the subject matter in a very unique way: by asking the right questions and receiving the best answers from people who are currently very successful in the music industry. It does not get any better than this. Unreservedly recommended! “

‘So You Want to Become a Media Composer?’ by Adonis Aletras is a comprehensive handbook. It delivers perspectives from highly respected crafts people in the Film and Media industry. It’s a must read for aspiring and experienced composers!

Packed full of detailed,specific information from people at the top of their game in the industry.

I am not sure how to evaluate this book. It's interesting but hardly a handbook. Good to discuss with musician friends. There are some useful points, but not consistently of substance.