Meet the Committee

Steve Charles, Music by Design

How did you get started and what advice would you give to a composer starting out now?

I started as a 'tape op' (I guess the equivalent job now would be a runner), stuck with it and am now at the same company as MD. My advice to a composer starting out now would be 'listen to your work'. I know that sounds odd but a lot of stuff we hear from new composers may be technical and follow formats but just doesn't sound any good. Also, get someone else to listen to your work who is honest.

What was your first job?

The first job I did was a Weight Watchers ad. The composers were away on holiday over the Christmas period when the 'rush' job came in and was needed in time for new year. Being the only person available in the studio I got to it. 

What ads are you most proud of?

Ummmm, I think the Kleenex ad from about 10 years ago - it was a radio ad and the brief was ' the blues...'.  Something about it just sounded great, all the musicians, the singer, everything. Also, all the big orchestral jobs - recording a whole orchestra sounds amazing, it's a real buzz.

What’s your training and what training do you need these days?

I trained with the ABTT (Association of British Theatre Technicians). From School I wanted to be a sound engineer. Writing was an accident really. I did get music O-level and play a few instruments but never thought about it as a career when training. I don't think training is as important a talent; it helps, but your ears are what really count. 

How do you put a price on your work?

This is probably the hardest question of all and why we have a man in a suit to do it for us. The main thing to remember is this: you are not just charging for you time, direct expenses and overheads etc, you are charging for your talent and all the training that goes with it - maybe not in the form of a qualification but all the time you spent learning how to put your music together, learning how to play instruments and write. Also, the PCAM guidelines help a lot!

Would you ever work for free?

And by contrast, this is the easiest question of the lot. Don't do it.  No other trade would get, say, 10 artists to paint a picture and pay the best one, or ask a plumber to fit a bath and only pay him if you like his work. It sounds silly when you apply it to other trades yet some composers seem happy to do it. If you work for free, your work carries no value and you will always be writing in your bedroom pitching against 50 other like-minded composers. Buy a lottery ticket instead!

What software do you use and what’s your favourite piece of kit?

I use pro-tools HD, been with it since it first came out as Sound Tools, a 2-track editor. My favourite piece of kit is my Neumann U67 valve mic - sounds like nothing else...

What single thing do you wish you had known when you started out?

Predicting musical trends, wouldn't it be great be be first in!