Arbel: Please tell me a bit about your educational background and/or musical training.
John: I took two years of piano lessons when I was 9. (pause) Oh, were you expecting more? (laughs) I participated in high school band and played piano. When I was in college at the University of Richmond, a music professor heard me practicing piano and told me I should do an independent study with him. He kept me out of the university music classes.
Arbel: What type of electronics do you use in your music? What acoustic instruments do you use?
John: I have 6 macs and 6 PCs that I use. I have a number of different music libraries that I choose instruments from, but whenever I can I try to use real players. Electronics are great, and some of the software out there is really good, but nothing can replace real live players and instruments. But a lot of times there's no budget for real players or I need sounds that an orchestra or player can't make, so I create it myself on the computer.
Arbel: How do you decide when to use electronics as opposed to acoustics?
John: Sometimes I don't need an acoustic sound for a track I am writing. Also, sometimes a line is too complex to be played by an instrumentalist, but a computer can play anything. Or like I said, sometimes there is just no budget for hiring players. It depends on the client and project.
Arbel: In what ways do you combine electronic and acoustic instruments?
John: Well, if there is a smaller budget, I will usually hire a violinist, or whatever the main melody line is written for, and created the "background" music with electronics. Either way, the demo track is always all electronics. Then, later, I go back and replace tracks with acoustic recordings.
Arbel: How do you line everything up? Do you conduct?
John: Usually we either use clicks or the player watches a video screen and a conductor. It depends on the project.
Arbel: How did you get into the film/tv music industry?
John: So, Earl Hamner went to Richmond and when I was a senior he was writing a film about the University of Richmond and he approached my professor about composing the music for the film. But my professor was very busy and told Hamner that I could do the music. So I did. After that, I wrote music part-time for about 9 years or so. There were hundreds of small breaks along the way.
Arbel: How is it living on the East Coast (aka far from Hollywood) and working in film/tv? Is it a challenge at all?
John: Well, not really. 90% of the jobs I get are national broadcasts, like PBS and Discovery Channel, so my location isn't a big deal. It has gotten to the point, though, that anything local around me can't afford me. But with technology today I can skype, FaceTime, or email clients anytime. For example, I have a client on the West Coast that I've been doing work for that I have never met in person. Sometimes it's easier that way. When you live close by your client, they often "look over your shoulder" as you're working. They may send a runner to check up on you, for example. But living away, they call me, tell me what they liked and what they want different about a track I sent them, they tell me they need it in an hour, so I work on it and send it in an hour.
John: Remember, the client knows best. The client knows exactly what they want for their project and it is the composer's job to create that. A composer can succeed at pleasing a client if they understand exactly what the client wants. You can't just give them "good music," you have to give them the right music.
Arbel: What advice would you give to students who are looking to get into the film/tv music industry?
John: First is important to understand that there is more talent out there than there is work for; talent alone won't do it. You have to be very subjective, and you are better served by knowing exactly what the client wants. If a client says what you gave them isn't good, you can't think they don't get my music. What the client wants is what is right. Also, if a client says, "I need an accordion part", you say ok and then figure out what the hell an accordion is and how to write for it later. That isn't the client's problem.
Also, don't be a jerk. Companies will hire someone less talented who is willing to do anything. Be prompt, don't get coked up and then show up for a meeting.
When a client asks you how much you charge, make sure you know what the rates are and what you want your rate to be. It can affect their decision sometimes. Also, if a potential client asks you to "cut him a deal on this one and I'll get you back next time", that's a lie. Don't do it.