My last post concentrated on the basics for how composers can set up their Casting Call Club profile. Today, I am talking about some of the significant points of auditioning for a given project. Like scoring for podcasts, there are rules that composers must follow (and mistakes to avoid) to properly attract the attention of the director.

Auditions

1. Carefully read the directions for each “Composer” role in a project. Sometimes, the director wants a specific type of music. Most of the time, though, they just require that you send a sample of your work that is readily available online (as a link) for them to access and check.
2. Submitting auditions in Casting Call Club should be treated like an “elevator pitch” for job interviews because that is practically what the process is. It is a chance for the composer to showcase a sample of their work to the director in the hopes of landing a music scoring opportunity. It also demonstrates their level of professionalism by communicating with the director in writing, because sending a link is not enough.
3. It really helps to include brief details about yourself to give the director some context. Specify who you are, where you are based, and the kind of music that you write. Also, indicate the link that you have provided in your submission and where it leads. Talking about yourself in these contexts does not mean expressing narcissism and acting like a jerk to everyone. Approaching an audition that way will almost certainly guarantee that the director will find someone else who is more capable for their project.
4. Demonstrate wanting the opportunity without coming off as desperate. Saying things like “Here’s my work. Hire me!” is considered unacceptable in the entertainment world (or any profession, for that matter), because it gives the impression of looking for attention. Instead, offer your professional contact e-mail and show interest in communicating with the director about the specifics of the project… if chosen.
5. Wait for the results for the project audition that you submitted by applying for more projects, because the process does not stop after one audition.
6. If cast for a project, remember to wait for the director to respond and provide instructions.

Keep in mind that these guidelines, while helpful, should not be perceived of as the only ways of doing things when auditioning for a project that requires music. These are just some of the basic rules to establish professionalism so that your work can be considered. There is also no guarantee that following these rules works all the time (Refer to “Rule No. 5”). Sometimes, carefully following audition submissions can still lead to the director picking someone else, because it is a matter of luck. For situations like that, I refer to what I said in my post about scoring for podcasts. Composers should never, ever publicly complain about or harass the project director and production team because that means getting banned from the Casting Call Club community (because someone will eventually see the outburst and report the profile for violating guidelines). It is best to just stop, calm down and move on to something else.

In my last post, I discussed some key steps that composers can follow if they want to compose music for podcasts. Allow me to expand upon that post and talk about a website that I frequently use to locate opportunities in entertainment. I primarily use Casting Call Club. This site offers paid and unpaid working opportunities for people in multiple facets of entertainment projects: from screenwriting and animation, to voice acting, audio engineering, and music composition.It is a good resource for composers who want the experience of networking with people in different entertainment backgrounds. The site currently offers paid courses for those interested in learning more, but I want to go over some of the basic rules for how composers can properly use it to their advantage. This discussion will be divided into two parts.

Profile Etiquette

1. Include your educational background and links to previous relevant projects that you have worked on in the past: things like music for podcasts, animations, live action videos, comedies, or dramas.

2. Specify the gender, type of language fluency (if collaborating with people from overseas), type of audio equipment, and music software that you use. This helps to get your “Composer” profile noticed by others, because it demonstrates your experience in the field.

3. Indicate price ranges and quotes for the kind of music that you create. Remember to be reasonable with the pricing and be willing to negotiate the price range with whoever is interested in commissioning music from you our collaborating with you.

4. Take into consideration the extreme socioeconomic circumstances of a given situation, like a global pandemic that has left most people broke. Although it is generally considered a bad idea in the professional world to do free work all the time, sometimes that may the only available option. In situations like that, composers must take the opportunity regardless and adapt.

5. If necessary, add a disclaimer or set of disclaimers explaining the kind of work that you will not compose for. It is usually a good feeling when a composing opportunity arises, because that usually means another project that can be added to your resume or CV. However, composers should also exercise caution and have some limits to what they do. In my case, I try to avoid composing music for material that would be considered “NSFW,” or “Not Safe for Work” (See “Contact”): especially in this era where practically everything on social media is scrutinized.

The next post will focus on what to do in the "Audition" phase of applying for a Casting Call Club opportunity. Some parts might wound similar to what I mentioned about composing for podcasts. I assure you, though, that there are some differences between the processes. 

​With the release of the Sticks Shift Incorporated podcast soundtrack (see News), I would like to take some time to share with you some advice that I have regarding composing for podcasts. This information is based primarily on my personal experience with scoring for this medium and is not meant to be definitive. This is more like an extension of the Musochat forum discussion that I gave in July 2018 about “Commissioning and Collaboration Etiquette,” in that I will talk about what composers should expect when collaborating on podcasts and how they can exercise common sense to maintain professionalism:

1. Scoring for podcasts is mostly similar in scope to writing music for film, television, and video games. The process usually involves collaborating with a director or production team. The key difference with podcasts, when compared to the other media that I just mentioned, is that podcasts lack visuals and rely more on aural aspects to guide the programming.
2. As with most other forms of media, collaborating on a podcast as a composer requires a bit of creative restraint. That might sound strange on the surface. However, it is a necessary step, because the process relies more on group effort than on individual ego. The composer must learn to write the music that is being asked of them by the director or production team. This means that the composer must pay attention to the overall tone or genre of the podcast so that they can create music that matches. I decided to use eerie electronics with the Reaktor 6 Player when working on the music for Sticks Shift Incorporated: music that matched the suspenseful, sci-fi atmosphere of the podcast drama.
3. Because podcasts do not include a visual element. It is important for composers to adhere to aural cues or moods based on what the director or team want. This process frequently involves reading and studying the podcast script (if given access to one) and coming up with possible musical themes or ideas based on that script or specified mood.
4. Follow “Non-Disclosure Agreements,” or NDAs. Collaborating on a podcast as a composer means becoming a vital part of a team, which means that everyone on that team needs to follow the same rules at the outset of the podcast production. Composers are no exception. They must not reveal any crucial plot points for a new podcast episode or program before it is released. Violating a NDA spoils the podcast for everyone and comes off as unprofessional, because it sends the wrong message to the rest of the team that the composer cannot be trusted… which can either lead to the composer getting fired or the production halted.
5. Adapt and become flexible when scoring for podcasts. Learn to compose the required music for the podcast within a limited schedule (about several weeks, to one month). Expect to edit your music when, or if, the director wants changes. Arguing with the director at that stage in the process does nothing, which brings me to my next point: perhaps, one the most important points in this discussion and what composers should avoid at all costs.
6. No badmouthing the director or production team. Ever. Directors and production teams help composers by commissioning them for work. This should go without saying, but composers who work in any form of entertainment media should never publicly complain about their current project or their employer/commissioner. It does not matter if the project is paid or unpaid. That kind of attitude implies that the composer is incapable of working together with others, which reflects poorly on the rest of the team. It also decreases the chances for possible future employment by other podcast production teams because the composer could be rejected or banned from public online spaces offering work in entertainment.
7. Be prepared for anything. What I am talking about here is anticipating moments when podcasts suddenly stop mid-production. This can happen for several reasons. The director or creator chose another composer, or their main idea for the program did not fully come to fruition. Whatever the circumstances are, refer to the previous tip. Getting angry does not solve the problem. The best thing to do in situations like that is to accept that it happened and move on by searching for another project.

Some of you might be wondering how it is possible for composers to find opportunities scoring for podcasts and entertainment: especially in this unexpectedly long and unpredictable period brought on by COVID-19? I must reserve that discussion for another post. Until then, I hope that everyone stays safe.