Quick heads up for anyone who has been thinking about Audio Artist Rise. Tuesday 28 July, 23:59 Berlin time, I'm closing the lifetime option for good. Pay once, and you're in for as long as I run Rise. No annual or monthly renewal, ever. (Sorry, I changed the date because I missed sending out the deadline email 😅) What Rise actually is: two live calls every week, two hours each. Track reviews, mixing and mastering breakdowns, business strategy, mindset work when self-doubt is the real block. Twenty years of what actually works for a working composer, applied live to whatever you bring. Additionally, a livecall archive featuring over 280 recorded calls from previous sessions. One of the composers in the program, Tarek, just landed his first paid video game gig. He built a cold outreach queue with the system we put together, worked it consistently, and the best thing is, the developer came back and offered him the full soundtrack. That's the point. Lifetime is $2,000. Single payment, or I'll split it into 2 to 4 monthly payments if that works better. Comment RISE below or DM me and I'll send the payment link. After Tuesday 23:59 CET, this specific offer is gone forever.

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, I was just wondering how to get into music libraries as an independent artist and which ones you’ve used and would recommend. I honestly don’t know where 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.

I wonder which of both is easier to get in and has the higher potential outcome? My assumptions are that game music requires more networking, but is easier to get in overall as the production quality standards aren't as high as in trailer music (excluding AAA) and you can get away with many more musical styles. From a money making perspective I guess trailer music has a higher ceiling?!? What do you people of the internet think/know?