Quick update for everyone: You can now purchase courses individually again inside the classroom. Here's how it works: Head over to the classroom, browse through the courses, and you'll see prices are back on each one. Pick exactly what you need, grab it, and it's yours to keep. I know not everyone wants a full subscription, and that's totally fine. Maybe there's just one specific topic you want to dive into right now. This way you only pay for what you actually want to learn. Go check out the classroom and let me know if you have any questions! PS: I know some of you have been asking about the courses that are still in early access. I haven't forgotten about them. Life has been incredibly busy on my end, but they're still on my radar and I'll keep updating them as I go. Thanks for your patience, it means a lot.

Hey everyone! I'm trying something new here. I want to give you a quick recap of what we cover in our live coaching calls, so you can get the key insights even if you couldn't make it. Think of these posts as your cheat sheet for each session. Let me know in the comments if you find this helpful! If you're not part of Audio Artist Rise yet and posts like this make you curious about what we do in the live calls, check out the program. We do multiple live coaching sessions every week covering everything from trailer music production to game music careers, business strategy, and more. You can find all the details on the Audio Artist Rise page. Now let's get into it! 🎬 TRACK REVIEWS, HYBRID SCORING AND CHOIR LIBRARIES Here's your detailed breakdown of the February 10th coaching call. We covered a ton of ground on trailer music structure, layering techniques, choir libraries, game music workflows, and more. Whether you're working on epic hybrid tracks or ambient game scores, there's something here for you. 🎵 TRAILER MUSIC STRUCTURE AND TRANSITIONS The Empty Bar Problem One of the biggest structural issues in trailer music is how you handle transitions between sections. If you build tension with risers and then leave an empty bar with just a fade out, you're killing the momentum you worked so hard to create. The goal is always to build tension toward the next part. Solutions for strong transitions: - Add a proper riser that builds all the way to maximum dynamics - Use a full crescendo that actually resolves into the next section - If you want a gap or breathing space, make it intentional and brief (one beat, not multiple bars) - Let hits ring out naturally, but make sure the build before them is massive - Consider adding taiko rolls or other percussive elements to drive the build Three Act Structure (Actually Four) Technically, trailer tracks follow a three act structure, but in practice it's really four sections:

Just dropped a comprehensive video on the complete outreach system I teach my Rise students - and honestly, this is the stuff that separates hobbyists from professionals. Here's the brutal truth: If you're just sitting around writing music and hoping someone discovers you, you're doing this wrong. Period. In this video, I break down: ✅ Building a professional brand that doesn't scream "amateur" (yes, your Gmail address matters) ✅ Creating demo reels that actually convert (hint: stop sending 100 random tracks) ✅ Company research and LinkedIn strategies that work ✅ Email outreach + follow-ups (this is where most conversions happen) ✅ Social media content you can create in 5 minutes with your phone ✅ Why most composers fail at targeting (and how to fix it immediately) The real kicker? Consistency. Contact 5 people a day on LinkedIn. That's 1,500+ contacts in a year. Something WILL happen. Stop using "saturated market" as an excuse. The market isn't saturated - your strategy just sucks. Watch the full video and let me know which part hit you the hardest. 👇 Drop a comment if you have questions or if you're finally ready to treat this like the business it is.

Alright, so I just finished building something pretty cool and wanted to share it with you all. For years, we've all struggled with the same problem - how do you actually GET IN TOUCH with game developers? You find a cool indie game on Steam, want to reach out, but... no website, no contact info, everything stays locked inside Steam's ecosystem. Well, I built an automation that solves this. Here's what it does: - Scrapes Steam for games based on YOUR filters (genre, release date, etc.) - Uses AI (Perplexity) to find the actual company domains - Runs those domains through an email finder tool to get contact info - Delivers you a list of emails in literally 20-30 seconds I just ran a test - picked "survival games from last week" - and got 2 verified emails in under a minute. Then tried "adventure games from last month" and got even more. The point? There's literally no excuse anymore to say "I can't find game developers to contact." The leads are there. The tools exist. The only thing stopping you is... not doing it. Now, this is just one approach (and yes, it costs a bit for the tools), but the principle applies everywhere - if you're serious about landing game audio work, you need to get proactive about finding and reaching out to devs. What's YOUR biggest challenge with finding game dev contacts? Drop a comment below 👇

…yeah, that’s what I used to think too. Because honestly — for years I’ve seen composers (including myself) stuck doing everything that has nothing to do with actually making music. Building demo reels Updating links. Chasing clients. Posting just to stay visible. Juggling six tools that don’t talk to each other. Automating everything? Another overwhelming amoung of tools. No thanks! It’s exhausting — and it’s the reason so many talented composers never get the recognition they deserve. We never learned marketing or tech systems — we learned music. But the industry keeps demanding that we also become marketers, copywriters, web designers, and salespeople. So I went all in these past days. I spent long hours setting things up, testing, breaking, rebuilding — and I think I finally found the missing piece. A connected system built for composers and artists, not for marketers. A place where everything just works: - Leads come in automatically. - Emails and follow-ups go out automatically. - Your contacts, opportunities, and projects are tracked automatically. - Even your social media posts can be generated and scheduled automatically. And here’s the best part — you hardly have to lift a finger. If you want, the entire setup, integration, and even the ongoing management can be handled for you. You focus on composing. We’ll take care of the business side. It’s the first time I’ve seen everything truly work together in a way that feels built for our world — not a corporate one. A few early users already have their systems up and running, and it’s amazing to watch how much time and clarity they’re gaining. Prices are still at early-access level right now, but that won’t stay forever. So if you’re a composer or artist who’s serious about finally turning your creativity into a running business — without wasting hours every day doing admin work — this might be exactly what you’ve been waiting for. You can read more about it here: https://go.growbaze.com/