This will be a two-part post, so let’s delve right in.

Ever thought about what it takes to become masterful at your craft? I’m sure you have, especially if you have made it your business of producing content for film and media. A twin to that question is which tools I need to achieve that goal.

In my over 25 years of creating and producing music, I have consistently come across a number of requirements that all need to be present to get somewhere with your craft (Note: This list is not exhaustive):

• Talent (or a gift – not everyone has it)
• Opportunity (unless you seek it out, it has to be present)
• Determination (main ingredient when obstacles appear)
• Tools (without which you won’t be able to create)
• Skill (ripens as you mature in your craft)

While I would love to delve into all of these, I mainly want to address the last two, Tools and Skill.

The Tools

We all know what a tool is, but sometimes it helps to have a second look at the definition: “A tool is a device that can be used to produce or achieve something, but that is not consumed in the process.” (Source: Wikipedia)

The use and type of tools is dictated by the item or end result we want to produce. Depending on the outcome, we also have to use the right kind of tools. This should be a clear concept. For example, it would make no sense to use a hammer where a screwdriver is needed, unless you want to intentionally do some damage.

Even within the classification of a certain tool (as in “screwdriver”) there are varied sizes and types for different uses. Ever tried to use a large Philips screwdriver on a gadget that required a tiny little one to open? (Bear with me, this is all going somewhere.)

In my world of composing for film and media, this means that I have to look for and use the right kind of tools. The selection of them is directly related to the content and quality I want to produce, and of course the intended use of that content. For example, if all I ever wanted to create is beautiful acoustic guitar music, a guitar of a certain quality would be a good idea to use.

The intended use of the content dictates the quality of the tool required for the job. Unless specifically asked for, we wouldn’t use a toy piano to reproduce Chopin’s Piano Concerto No. 1 (although that would make for an interesting choice.)

Point is that we have to think in terms of content, quality, and intended use when choosing the tools we use to create the content.

Unless produced by a real orchestra, a very practical example from the world of a composer would be the type of sample library to use for strings. Great music has been composed and produced with some of the more inexpensive sample libraries available. However, pushing the envelope and attempting to get close to the real thing, we have to consider using a premium orchestral library capable of producing the sound, texture, and articulations of a real orchestra, or at least come extremely close to it.

Skill, which we will discuss below, also weighs in on the end result. I have recently heard a fellow composer state that he is starting to hear great sounding, but poorly written music being published by some of the less experienced composers. This is due to a disproportionate use of quality sample libraries by those who are lacking skill in using them.

On the flip side though, a great composer may be able to produce really beautiful music even with a less expensive orchestral library, simply because the inferior tool is being used by a true master. However, even that master will only get so far with the tool. A quality tool will allow the master to produce superior results.

This translates into a requirement to match skills with the right tool. If all you ever want to produce is music for your own listening pleasure, then an inexpensive orchestral library (to stay with the example) will suffice. However, if your intent is to produce music for feature films and for the commercial world of media, then using your skills and the use of a quality orchestral library is imperative. This means that you will have to look for the best tools available. This is not meant to sound condescending or judgmental. It is simply an unwritten rule in the world of professional media.

To put it simply, don’t expect to get feature film gigs by continually producing your music with less than acceptable tools. Producers and directors are able to spot very quickly whether you have the tools and skills to produce results that match their quality requirements.

So, what does all that mean? Simply this: If you are serious about creating beautiful music not only for your own enjoyment, you will need to continually improve the collection of tools (instruments, sample libraries, recording equipment, etc.) you employ to produce that music. This also includes making upgrades and staying up-to-date with technology.

In this digital world of music, our tools are continually evolving. In my studio I have gadgets and electronic instruments, including sample libraries, I haven’t touched in months, because their sound quality has been surpassed by newer technology. Does that mean I won’t ever use them again? Absolutely not. Point is that we need to stay current with our tools.

Part II more specifically addresses some of the tools and where they may fit in.

The Skills

According to Wikipedia, “A skill is the learned capacity to carry out pre-determined results often with the minimum outlay of time, energy, or both.”

As already mentioned, skill in the grand scheme of producing music for media is married to the tools we use. Unless we use prepared audio (aka ‘loops’) in our creations, we will need to spend significant amounts of time and efforts at honing our skills. That just comes with the territory.

Behind every successful piece of music or media you will find a master of his or her craft. This doesn’t mean there isn’t room for the occasional breakthrough of a natural talent or a prodigy. In general, you will find though that musicians and composers working in this industry are successful because they have worked very hard on developing their skills.

The study of music and the mastery of your toolset is an ongoing process and even though you can take a lifetime committed to it, it never seems like you will reach the end.

I also have a degree in mechanical engineering (don’t ask, long story). I do remember times developing my skills in the workshop, working with various metal forming and processing tools. It was hard and frustrating, often having to begin over until the use of a particular tool became second nature to me. Sound familiar?

Developing our musical skills as an artist takes a lifetime of dedication to study, without which you will have to rely on your natural talent. That talent alone may only take you so far. If you are among those of us who are not child prodigies, studying and improving your skills is the road you will need to travel.

Again, this is where determination makes its appearance. Don’t allow obstacles to pull you off that road if you are set on becoming successful at this. If you don’t have the opportunity to study music in college, then seek out other ways to improve your knowledge.

Part II will list a number of resources that will help you along the way.

The Master’s Hands

Ever asked yourself where your creativity comes from? I am not speaking of the crazy things we do as individuals to stir up our creative juices. I am speaking of the source, the origin of our creativity.

The answer to that question depends on a number of factors, but is essentially tied to your world view. I won’t bore you with mine, so if you feel you want to stop reading here, that will be perfectly alright.

Well, you obviously made it this far, so without further ado, here is my personal viewpoint:

I strongly believe that our creative abilities have been given to us by our Creator. In fact, the Bible speaks about us being created in God’s image. Being the Creator God that He is, it stands to reason that as His creation we would inherit, as it were, some of His creating abilities as well.

The ability to create something beautiful, or interesting, or even, shall we call it ‘unique’, all ties into this gift we have received from Him. From my perspective, whether you acknowledge this or not, all of this points back to the Grand Master.

As we are using this ability, we in essence become tools of the Grand Master, and a Master He is indeed. He is looking for tools He can use to continually birth new creations. When I compose, I am constantly aware of this creative source and with every cue I write, every musical phrase I work so hard on, my hope is always that I become an effective tool.

If you are into woodworking, you know that tools need to be sharpened to stay effective. They have to be in top shape, otherwise they may just cause more damage than good. Likewise, the challenge extends to me in acknowledging that there is more to creating music than the act itself and allowing Him to shape and sharpen me.

Being a tool in the Master’s hands is more fulfilling to me than anything else creatively in this world. Any determination to improve my skills, and in essence become a better communicator with my music, stems from this desire.

If you have made it reading through all this, then let me challenge you to seek out that source of creativity and tie into the river that flows so strongly from Him. Bathe in its beauty and let it wash over you as you become the Master’s tool.