Meet the Committee

Augusta Quiney, A-Bomb

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

I'm not a composer myself, I run a music production company and undertake a creative role although my background is music business and pretty diverse.  Amongst other things, I worked in a jazz club for 4 years which taught me about musicians and musicianship. Then artiste management with a couple of brilliant old-school managers where I learnt the business side followed by 3 years assisting a big name record producer, getting my ears trained in a series of wonderful recording studios.  Moving across to advertising was a refreshing and fascinating challenge.  My advice to a composer starting out is the same as I would give anyone: work hard, be true to yourself and play to your strengths.  Perhaps more specifically I'd counsel never to underestimate your clients' expectations.

What was your first job?

I think it was a Siemens Mobile phone ad – do they even exist now?

What ads are you most proud of?

Johnnie Walker 'Human' (AKA 'Android').  We teamed up with the creatives at script stage and helped devise the music brief: powerful orchestration with provocative, electronic undercurrents.  As soon as we got the cut, we went straight ahead and recorded the track.  It got past agency through local to global client with no changes.  Everyone loved it and many months later John Hegarty confessed to me that our soundtrack had restored his faith in composed music. I'm very proud of that and I never tire of watching the spot!

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

Honestly?  I have a degree in Architecture!  I've always thought it has a lot more to do with talent and commitment than it does training.  If you're naturally musical then training can only help but some of our composers have managed very nicely without it.  If you're more into the production side then you need time spent in studios.  Even if you're just making tea, your ears will be developing.

How do you put a price on your work?

I'd be lost without the PCAM guidelines.  Beyond that, I have a responsibility to the composers I represent.  I value their talent, skill and experience very highly and I never have a problem fighting for what they are due.

Would you ever work for free?

Working for free is something you might do if an elderly neighbour has fallen downstairs and can't get out to the shops.  It's not appropriate to extend this sympathy to advertising agencies.   If you don't value your work and demand an investment from your client, nor will they take you seriously or bother to work with you to get it right.

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

Our composers mostly work in Pro Tools HD, Logic, Sibelius, Max MSP and so on.  Almost everything we produce in our studio passes through a Chandler vintage analogue mixer to give unique separation, depth and colour to our mixes.

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

The horror of cold calling is a waste of time and not worth the agony.