In my latest podcast, I speak with Mexico City based composer Milo Coello about his career writing music for tv and films. Milo is a Berklee graduate who spent several years in LA making connections in the industry, before eventually returning to his home city of Mexico City where he currently resides and writes music for tv and films full time.
Milo's music has been heard on NBC, Discovery, Food Channel, Discovery, Bravo, National Geographic, CBS, ABC, Fox, VH1, Lifetime, A&E, BBC, TBS, UFC, Universal and much more.
In this podcast, Milo and I discuss:
-How to break into the world of writing songs for tv/films
-The Pros and cons of being based in LA as a musician
-How to thrive in less competitive markets
-Playing Live VS working as a composer
-How competition can inspire us to work harder and achieve our goals
-and much more.
Listen to the podcast here:
In episode #65 of Music, Money & Life, I speak with London based composer, Claire Batchelor, about her career as a composer in the UK. Claire writes custom music for film and television and has been sustaining herself as a full time musician since 2009.
In my podcast with Claire, we discuss
One of my favorite things about being involved in music licensing, is that it gives me a very clear objective in terms of my music and songwriting.
In a general sense, I strive to just write the best songs I'm capable of writing, but having something like licensing as a goal, motivates me to push myself to write better and better songs, or at least to try.
I find that when I have clear, very definable goals, that's when I do my best work.
Like when I have a live show coming up; I practice more and I rehearse and I do everything I can to be as prepared as possible when my gig comes.
It's the same with licensing. Knowing that I have people in the industry that will listen to new songs whenever I finish them and will pitch them to and potentially place them in tv shows, films and ads, motivates me to write the best music I'm capable of writing. It gives me something very concrete to shoot for.
The truth is, there are only so many ways to monetize original music these days. You can play live, you can license music, you can sell your music (to the extent that still works) and you can write music for other artists. That's about it.
It should come as no surprise, that during periods in my life when I wasn't actively pursuing any particular goal related to music, that I didn't accomplish as much. I still wrote music during these periods, but I wasn't as prolific and I wasn't really pushing myself to grow in the same way that I am now. I didn't have a clear goal to latch on to, and so I wandered.
When you have goals and objectives related to your music, it makes your days much easier to navigate. When you know where you want to go, it's much easier to figure out what direction you need to move in.
Speaking of goals and music, here's my latest track, called "You And I".
I'm certain I would have never written this song if I didn't have the momentum with licensing and creating tracks with my producer, Gary Gray, that I have right now.
There are a lot of mediocre guitar players out there passing themselves off as “tasteful” and “restrained” by playing second rate, mediocre guitar solos with very few notes and very little flair. You could say there is an epidemic of mediocre musicians out there, making mediocre music.
When I was growing up it was considered “cool” to actually be able to play your instrument. Guitarists and guitar solos were in fashion and guitarists weren’t afraid to actually demonstrate that they could play their instrument well. We practiced a lot and we weren’t afraid to show it.
Somewhere along the way, in the nineties, all that changed. Seemingly overnight it seemed that guitar solos and playing fast and good became unfashionable. What once was cool, being proficient on your instrument, suddenly became uncool.
Bands like Nirvana and Soundgarden, who obviously had very little formal music training, became extremely popular. Suddenly, it wasn’t perceived as cool to actually play an instrument well. The new cool was being able to express yourself with very limited musical knowledge. Like, look at me, I’m so cool I don’t even need to practice.
Millions of aspiring musicians and guitarists were now aspiring to be like the new group of musicians they looked up to: mediocre musicians with no real chops to speak of.
Well I think it’s about time that someone stood up for the right to play guitar solos that actually demonstrate how good of a guitar player you are. I think it’s about time someone stood up for the right to play as many notes as fast as humanly possible, just because you can.
Playing a lot of notes very fast isn’t something to be ashamed of. Wanting to show people how hard you’ve practiced to become an accomplished guitar player isn’t anything to be embarrassed by.
I think it’s about time someone made playing guitar cool again.
That person is me.
In the following video, I demonstrate how to play the ultimate guitar solo and I break down what exactly the point of a guitar solo is, which obviously is to demonstrate how good of a guitar player you actually are.
Watch. Learn. And Enjoy.
The blog of musician and thinker of deep thoughts, Aaron Davison.