Hey guys, I received this question regularly over the last few years, so I recorded a video exclusively for the community. Let's talk about the best paying industry and the easiest to get into.

Hey everyone, Need your help picking the next ComposerOS video. The one I keep coming back to is a track visualizer build. The point: take a finished cue, turn it into something you can actually post on YouTube, without losing a weekend inside After Effects. Most composers I know have a hard drive full of music nobody ever hears. This is the fix. But I'd rather hear from you before I commit to it. Two questions: 1. Would a track visualizer video be useful to you? If yes, anything specific you'd want it to cover. 2. If something else in ComposerOS is higher on your list, tell me what. Whatever gets the most pull this week is what I record. Cheerio, Alex

Hey! Welcome to the Audio Artist Rise Community! This community helps music composers improve, optimize, and inspire themselves as they enter or progress in the audio industry. Step #01: Introduce yourself in THIS thread below! (✄ copy/paste template 👇) What are your goals? What is your current demo reel? What immediate help do you need? **Please DO NOT make a new post, as those clog up the feed (they will be removed). ------------------------------------------------------------------ Best practices in this community: • Level up by posting insights and thoughtful comments. • Help others level up by liking 👍 good posts and comments. • Be kind • If you want to reply to a post, make sure to use REPLY instead of creating a new post • If you need quick help, you can also ask the community 🤝

I want to introduce you to Mario. He came to me the way a lot of composers do. Plenty of talent, plenty of courses already bought, and still no clear way to turn any of it into actual work. Here's what he told me after going through everything, from the courses to the group to private mentoring: "Working with Alex is the best investment I ever made for my music career. I started with the Academy courses, and after buying many in the past, these are by far the best, taking you from the basics to high-end production. Then I moved to the AAR group and it boosted my skills exponentially. A safe space twice a week to review tracks and talk through everything production-music related. But both pale in comparison to the Private Mentorship. I feel like this was a better investment even than music school. In three months, applying Alex's advice (even when I didn't initially agree) stepped up my game so much that now I have multiple contracts with music libraries, and I'm doing what I love." The line I keep coming back to is the one in the parentheses. He applied the advice even when he didn't agree with it. Then the contracts started showing up. None of that happened because Mario suddenly got more talented. He got direction, and a room to do the work in. Two ways in if you want the same: 1. The monthly price for Audio Artist Rise is back. $97 a month puts you in the same group Mario started in, with live track reviews twice a week → https://www.skool.com/audio-artist-rise/about 2. Or go all in like he did: a full year of Rise plus 10 private 90-minute sessions with me, where we go through your music, your positioning, and exactly how you find and win work. $1,997, still open. Comment or DM me and I'll send the link. You don't have to go all in to start. But you do have to start.

The 7 patterns I see derailing most composer careers (and what we fix in the room) Skool post After 20 years of writing music and several hundred composer conversations, here are the seven things I see derailing more composer careers than anything else. If you're stuck, the answer is almost always somewhere on this list. 1. You overthink. You write a strong first idea, then spend the next four hours second-guessing it. You re-EQ, re-arrange, swap libraries, sketch alternatives. By the time you come back to the original take, you can't tell if it was good or not. The instinct that made the track interesting got buried under doubt. Most of your favorite tracks were written fast and finished slowly. Most of your stuck tracks were written slowly and never finished. 2. You can't stay on topic. The main theme is the whole job. One idea, stated clearly, varied with intent, returned to with weight. Instead, most composer tracks I review have three half-melodies pretending to be one. A motif appears, gets abandoned, a new motif shows up, also gets abandoned, the track ends without a thesis. The waveform looks like indecision. Library editors hear it instantly. A great track stays on topic for two minutes. Most drafts don't last 30 seconds. 3. You are drowning in plug-ins and sample libraries. You opened Kontakt to write and spent 25 minutes browsing. You bought the new library you saw on YouTube last week. Your template takes 90 seconds to load. The unfinished track from Tuesday is still sitting there. Tools are not the work. Most of the time the problem isn't that you need a new library, it's that you already have too many. 4. You don't know how to set up your demo reel. Your reel is your highest-leverage sales asset. It's the single piece of media that decides whether a music supervisor, library editor, or director takes you seriously in the first 20 seconds. Most composer reels I see are 6 to 12 minutes long, start with the safest track, bury the best one in the middle, jump between three unrelated genres, and have no edit or montage shaping the listen. Nobody finishes them. Nobody books from them. A great reel is 60 to 90 seconds, opens with your single most representative hit, and tells the buyer exactly what you do in one breath.