In this Creator Magazine, we interviewed composers of the Audio Cartel team where they share their perspectives on composing music for films and TV, and talk in-depth about their careers and the production music industry.
We hope that these interviews will give you insight and advice about the library music industry, especially the business side and how to get involved with this fascinating industry.
Sit back and enjoy the ride!
Please go ahead and introduce yourself.
"Hello, my name is Miriam Sternlicht. I'm from London, England - born and raised. I have been writing for Audio Cartel for about a year now. What I mostly write in terms of library music is synth-based dark kinds of tracks. I also tend to do a lot of minimalist piano and light orchestral tracks for libraries as well. And for the most part, I love it."
That's awesome. So how did you find yourself in the library music industry?
"Well, I started off with the library music. It felt like the best stepping stone to get to where I want to go eventually, which is to do more TV work or Film work maybe. Hans Zimmer is a massive influence of mine, as well as Harry Gregson-Williams and Ludovico Einaudi. I took a master class, and I had no intentions of going into music at all. I did it for fun and I took a nosedive into it and, with the help of social media and different groups and friends that I made along the way, I found myself heading towards library music."
So what do you like the most about creating library music?
"I like the variety. Especially when you're with a few different publishers or even just one publisher, depending on how they present their briefs to you, there's just so much opportunity to write in different styles, which is great and something I like a lot. I like the fact that in the music library you have the ability to learn a lot, because you’re asked for a lot of different things when you deliver your music. You know they want you to cut it down into pieces and be able to present it at different time lengths, and create variations within the track. And all of this is helpful for the bigger picture, when it comes to doing something like TV and Film. "
Was there ever a specific movie or composition within a movie that made you say, “hey, this is for me”?
"No, not particularly. It was more about the composers themselves and it was more like a slow progression that turned into a couple of projects."
What would you suggest to an early composer? "From experience, I would say don't be afraid to put your music out there. I know it's scary and daunting, especially when you're surrounded by titans in the industry, and people that seem to be more talented and experienced than you. Sometimes they are. I mean, many composers have been working for a very long time. I made the mistake of being a little shy about putting my music out there. The fact is, even if it's not that great, putting out music always creates an opportunity for you to learn. You know, people are helpful. For the most part, people will give you constructive feedback and it's something that you can learn from. Yeah, sure, you'll get the occasional not so nice comment from someone who just wants to take a dig, but I would say put that aside and get the music out there to learn and progress."
Do you need any musical challenges when you're creating a piece? Something engaging, or perhaps a mindset or routine that you need to have in order to get the musical creation flowing?
"I'm afraid that this is going to be a really short answer to your question, because the answer is no. At the moment, I kind of just sit at my piano and meddle around and if something comes great, and if nothing comes, well maybe another time."
What are your goals here on Earth?
"The ultimate goal for me is to make sure I raise well-rounded children who want to give something to the world and contribute, and pull their weight, and provide a happy home. For that to happen and to facilitate that, if I can achieve my own dreams along the way, then we have the best of both worlds."
I think that's a priority for a lot of parents.
"I hope so."
So in a similar but different note, what would your goals solely in the music world be?
"They're actually pretty low key. I mean, if I were to stay in library music forever, that would be fine with me as long as I'm providing a decent living, because I don’t need the fame or a lot of money. The ultimate thing for me is just to be comfortable doing what I love."
Can you tell me about your favorite work that you've created so far and why it's your favorite?
"Writing for Audio Cartel has actually been my favorite thus far because it opened the door to discovering something I was really good at. It was something that just came quite naturally, so I might even go so far to say that was my favorite project to work on. Because I got a lot of validation out of it. Which we need now and again."
What do you like best about working with Audio Cartel?
"Well, one thing I love is that the publishers are approachable and relaxed. They're very positive and I always got good positive feedback, which was very encouraging. It always made me want to continue to deliver good music. I always remember whenever I got my approval emails back, it was really exciting. I love that."
Thank you for reading!
Audio Cartel - Creative Music for Video Creators.
Audio Cartel is a music house, producing premium niche labels for content creators.
We design musical dreams for video makers.
Like no one else.
If you are a professional composer of sync music or have a passion for music for the Metaverse, join our hub of impressive composers, established professionals in the industry.
Contact us at: info@audiocartel.io
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