Recently, I had my friend and collaborator Aaron listen to some new ideas I'd created for Meg's podcast intro. His reply: "Funny you say that Idea #1 is basically you 'getting your ya-ya's out.' Because it sounds just like that—the funky, jazzy, quirky you that I know. And it sounds great. But Idea #2, on the other hand, sounds like Megan. Not only is it in keeping with her personality and vibe, but it just sounds like a proper intro. #2 is definitely the one she should go with!"
I was of the same opinions. Idea #1 represented my getting that initial round of awkward energy out of my system—then parking it somewhere, so I could move on to more focused ideas. It was my warmer-upper; the "icebreaker" concept that's often necessary to get a productive conversation started.
In any case, Meg had previously questioned the music that became Idea #2. She felt it sounded too much like what we've already been using. (Or maybe just too close in pace and/or feel.) But fortunately, after hearing Idea #2, she chose that option hands-down—of course, with some requested tweaks. (Clients are always gonna do that. It's like a nervous twitch they can't help.)
Maybe I can do this after all...
The point of this writing is that even though I continue to have my own unique style—represented by Idea #1—I'm gradually learning how to switch gears/pace as needed, to get into the mindset of other feels and styles of music—for the purpose of meeting my clients' needs. I guess that's the true job of a "media composer." Wow...I'm one of those now.
I will continue to "specialize" in relaxation, ambient, and jazz-based styles, because those are my strongest styles. Even so, it's good to have a range of styles one can lean on—and to develop the competence (and confidence) to adapt those styles as needed.
In a more recent conversation with Aaron, he remarked, "Dude, it's so cool that you're actually doing the thing! You have a bona fide 'music client.' Dude!"
The outro...
Last night I created an "outro" concept for Meg, based on her suggestion that we use an "Idea #3" I'd presented recently. The process was so cool—from how the vocal pacing turned out; to the result of the audio adjustments I had to make to a dynamically uneven vocal delivery; to the strategic "phrasing & tonal" rearrangements I had to make to ensure the entire voiceover would be heard not just OVER the music, but ALONG WITH it. This feels like the type of work I was meant to do...
Also, both the intro and outro truly sound like components of the same overarching concept, project, suite, however you wanna say it. I think that's also important for a media composer to stay in touch with—the idea that you're not creating disparate pieces of music. For each project, you're potentially creating a *suite* or *system* of music & sound that must conform to a single concept, thought process, delivery method, attitude, purpose, etc. It's all got to sound like part of the same thing.
Also, it’s obvious that much of the work of this project is about creating an engaging interplay between Meg’s voiceover and the music. One that “supports and enhances the information,” as I have pointed out times before, regarding design projects.
I'm slowly finding out what it takes to do this kind of work competently, and the types of things one has to always pay attention to. (Like the issues mentioned above.) Yep, I think maybe I can do this...
Music is all about feeling and emotion. But it's also a language. And it's a product, a package, a thing—not just an idea. The first statement is obvious; but what do I mean by the last two?