How's music To You?

I like melodies. In fact, maybe i like them a little bit too much 😄. When i start a new piece i normally start with the melody and then find fitting chords to accompany it. Most of the times this works ok but when it comes to writing an underscore type like track, i really struggle, because my melodies tend to be to active. So basically the typical problem of overcomplicating things 😅. Can you guys recommend some sort of exercises to get better at this type of composing / Do you have some tipps , when it comes to writing such tracks ? Thanks in advance :)

Hello fellow audio artists. Here's a track I produced based on a piano instrumental I played some time ago. I wanted to experiment a bit with a bigger orchestration and see where I could take it. So this is the result. Super curious what you guys think of it, if you have any constructive feedback on what you think would be the areas I need to work on the most in order to get to professional level that d be grand Thanks in advance and have a wonderful week. 🤟

Hey all, here is the promised Replay of the Scaling Session with Frank. If you have any question, feel free to reach out to Frank for support. I am pretty sure he will answer your questions. Honestly, I had a few lessons about a similar system in the past but in these 45 mins with Frank I understood more about it than ever before 😅. Rest assured, Frank has more spells available for you, ... so if you are curious about this very helpful music composition system, make sure to check out his Circle of Interval Magicians. Let us know, what do you think about scaling? Do you have questions? Also, feel free to post your examples you created with his method.

Lately I’ve been thinking a lot about style. Most days, I live in the world of cinematic and orchestral scores. But it’s not just my hard drive that’s mixed: my released songs and the artists I’ve worked with are all over the map too. I’ve done pop songs, synth-driven tracks, trap or gospel vibes, and I still do them alongside my orchestral work. As a composer or producer, I often feel like genres are "fake" borders. At the end of the day, it’s just music. But the industry doesn’t always see it that way. So I wanted to open this up as a discussion here: Is it better to focus on one main style your whole career, or is it okay to split yourself across many? There are solid reasons people say “pick a lane”: - Clarity for clients & listeners: If you’re “the orchestral guy” or “the dark synth person,” people know when to think of you. It’s easier to market, easier to pitch, easier to brand. - Deeper mastery: Sticking to one style lets you go really deep. You learn every nuance of that sound world: voicings, tempo ranges, sound design tricks, what works emotionally, what doesn’t. - Stronger signature: When you live in one style long enough, your fingerprints start to show in a recognizable way. That “oh, this sounds like X” effect is powerful. I totally get this. When I do cinematic scores, I feel like I’m coming my home. That language is natural to me now. But here’s the other side: I don’t only want one home. When I’m writing pop, or sculpting a synth track, or building a trap-gospel groove, I’m using different parts of the same musical brain. And those experiences bleed into each other in useful ways: - Cross-pollination of ideas: A synth arpeggio might become a strings ostinato. A gospel chord move might sneak into a moody game score. A pop topline might teach you how to write stronger main themes. - More emotional colors: Different genres are like different emotional toolkits. If you write for games, movies, or stories, being able to move between “epic,” “intimate,” “modern,” “retro,” “spiritual,” etc. is a huge advantage. - Creative sanity: Staying in one style 100% of the time can become a cage. Jumping into another genre for a while can reset your ears and keep you excited about music in general.