Doug DeAngelis's guest appearances

Doug DeAngelis

Bobby Owsinski's Inner Circle Podcast

YOU CAN Make a Living In The Music Industry Podcast

Paul Wiltshire

Robert Siciliano

Clarence Jey

Jason Brennan

David Cole

Andrew Peters

Matt Black

Niraj Naik

Quincy Jones

David Glasser

Ian Shepherd

John Greenham

Joey Sturgis

Michael Beinhorn

Warren Huart

OwlTail

This week I continue my conversation with hit producer, composer and music supervisor Doug DeAngelis. In part 2 of our interview we focus on working as a music director and supervisor for award shows such as The Billboard Music Awards and Teen Choice Awards. We also talk about what it takes to be a music supervisor for t.v. shows, the relationship a supervisor should have with an artist as well as the importance of knowing the music editor for a series. Plus, practical steps you can take to get into this line of work in the music industry.  Show Notes: Sponsors: Edenbrooke Productions - We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at contact@johnmartinkeith.com.  Talking Points: *I do music supervision and music direction at the same time for award shows. *How did you get into working on award shows? I did talent performance shows and along the way I got called to work on a sci-fi award show for Spike T.V. then she started calling me to do Teen Choice Awards and shows like that and people get to know you and start calling you for others. *It takes about 2 months to put an award show. *A “Dub Stage” is where you mix a t.v. show. *Don Mischer Productions does award shows. *I am either editing library music or writing music for the award shows. *Label and management decide what music they want played when their artists come on stage for award shows and I have to work with them to put that together. *Award shows are giant marketing events for artists, films, shows, etc. *When actors or models come on stage to be presenters, I have to figure out what their brand is and create music that fits who they are. Then their managers have to approve it most of the time. *The stress in award shows comes when they don’t tell you who the artists or presenters are until about a week before the show. So you’re doing stuff blind and chasing a lot of rumors and sometimes do work for no reason. *You’re going to do a lot of work for nothing, but that’s part of the job. *I do pop culture award shows, not academy awards, etc. *You only get about 48 hours to turn a song for t.v. shows. *I rarely have time as a music supervisor to reach out and ask licensing agents for songs to put in a show. I have reached out directly to artists and had them send me music that I needed right at that moment. *A music supervisor’s sentiment for putting an artist’s music in a show should be “thank you,” not “you’re welcome, I just got you exposure on social media.” That is devaluing you as an artist. *We have devalued music for the past 25 years. *Music supervisors should appreciate the artists and thank them for making the show successful. *Music supervisors should always be respectful of the musician’s art making their show better. *I would love to see the business of music stop accepting less all the time and try to be innovative and get back to more with innovation. *I moved to Nashville with the goal of saying “how can we break the mold entirely and start over again with a new model that will actually generate real revenue for artists and not just take whatever we’ve left them by giving away things all the time." *I have a company called Black Sleeve Media to create a new medium for music that can be experiential like the video gaming world where people will find value in and spend money on. *We’ve built technology for mobile devices that can play back multiple multi-tracks all at one time to gamify the experience of music and tie it all to different social experiences and communication experiences and festivals, and tie to brands, etc. and make it so you’re actually participating in music. It’s all virtual currency based so you’re not buying music but unlocking features and things they can do with music that will pay the artist the same way that the sale of CD would pay. *It’s mostly on mobile platforms working with artists and festivals to connect with the users. *Advice for getting into this world? *Do a lot of different things. They all have their own life and they all tie together so be free in not saying I only do one thing. *Someone taught me a technical skill to match my mental skill so I could express myself. *If you want to get into music supervision, there is a tremendous amount of value in technical skills. In being able to present your ideas to directors and producers they you hear them in your mind. *Learn how to edit music. Learn how to marry that music to Quicktime so you can take a show and put the scenes and music together edited the way you want. *The difference between being able to present yourself and your creative ideas as a music supervisor to picture, edited the way you hear them so it’s artistically doing what you’re hearing in your head, compared to just telling people your a music supervisor is huge. *Show them you have a clever, creative style. *You can’t show style without being able to present yourself. *Music supervision is a very hard world to get into now. *Learn how to program and do everything. It’s a job. *You don’t have to do it all at once, just get on the path. It’s a long journey. *It’s your presentation. *How do you approach a production company to show them a demo reel so you can become a music supervisor or composer? *You can get an agent like CAA or First Artist Management. There are multiple talent agents you can look up. *If you can show them something, they’ll watch it. You are competing against a bunch of people who have nothing to show for themselves. *Make something to show for yourself. *You don’t have to be signed with an agent to be a music supervisor, but it sure helps. *What is a talent agent going to do for you? If you’re new, they will connect you with indie films and small projects that nobody on the roster wants to do because it pays a smaller amount. They can offer that to you and if you follow through with it and do it well it will lead to bigger things, but you will only get the job is you SHOW them you can do the job, not tell them you can do the job. *Telling people you can do this job doesn’t help you. Showing them you can do this job helps you. *You can research “music supervision agency” or “composer agency.” *Music editors are critical because they are the pass-through in between the composer and the music supervisor and the show. *Music editors are critical people to get to know and send music to and work with. *Music editors are your first line people to get music to as an independent artist because they have to add temp music to picture. Give them music and ask them just to temp with it. It will most likely get replaced but it means that your music is getting shown to directors and you might be able to get a copy back and use it as a demo reel. *You’re just trying to show people what you can do to start and it will come from there. *Nobody is getting music in front of directors and producers more than a music editor with their own music because they have the knife and a picture with no music that needs temp music. *The music editor is the one who shapes the sound of t.v. show pilot more than anyone. *Music editing companies hire music editors. They don’t need an agent. *This is all one big job. Learn how to dive in and edit your music. *Pick 10 different shows and try the same song in all different environments and you’ll find out where it works best. That will teach you a lot about your music. *Comedy is the hardest to thing to put music to. If you can do that well you can jump to the front of the line because it is a very niche thing in Hollywood. *Don’t try to be something. Be you and try you in a lot of different things. *Learn what you’re good at by applying it to all different things. *Doug’s website  Doug DeAngelis is a composer/producer/musical director and music supervisor. He began his professional career at age 18 at SyncroSound Recording Studio in Boston while attending Berklee College of Music for music synthesis. At age nineteen, he recorded the Nine Inch Nails hit “Head Like A Hole” with Trent Reznor and world-renowned producer Flood. In 1989, DeAngelis left Boston on a world tour with the Detroit Techno crossover dance artist Inner City. After the tour, he moved to New York City where he amassed over 300 album &amp; remix credits including 31 #1 Billboard Chart singles. Album credits include New Order, Michael Jackson, Queen Latifa, Chaka Khan, Love and Rockets, Alicia Keys, and No Doubt. Doug's career then shifted to Los Angeles where his music was embraced by Hollywood producer Michael Mann as the score for his CBS crime drama series Robbery Homicide Division.  His music has since appeared in over 100 television shows including CSI, Baby Daddy, The Evidence, The Nine Lives Of Chloe King, Bones, Alias, Cold Case, CSI Miami, ER, as well as dozens of reality television programs. He has written main title themes for Chelsea Lately, CNN Heroes, E! True Hollywood Stories Investigates, The NASCAR franchise, and co-written the main title songs to the film Blades Of Glory starring Will Ferrell, and The American Country Awards. Recently, Doug won a BMI Music Award for his underscore to the FOX series 'Lie To Me', and composed the score for an Academy Award nominated feature documentary film entitled 'The Garden'.  Outside of the studio, Doug is the Conference Chair and Co-Founder of A3E, The Advanced Audio &amp; Applications Exchange. A3E is a leading industry resource dedicated to the future of new music technologies. A3E is an educational partner to NAMM, The National Association Of Music Merchants. 

This week I continue my conversation with hit producer, composer and music supervisor Doug DeAngelis. In part 2 of our interview we focus on working as a music director and supervisor for award shows such as The Billboard Music Awards and Teen Choice Awards. We also talk about what it takes to be a music supervisor for t.v. shows, the relationship a supervisor should have with an artist as well as the importance of knowing the music editor for a series. Plus, practical steps you can take to get into this line of work in the music industry. Show Notes: Sponsors: <a href="https://edenbrookemusic.com/" rel="nofollow" target="_blank">Edenbrooke Productions</a> - We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at contact@johnmartinkeith.com.  Talking Points: *I do music supervision and music direction at the same time for award shows. *How did you get into working on award shows? I did talent performance shows and along the way I got called to work on a sci-fi award show for Spike T.V. then she started calling me to do Teen Choice Awards and shows like that and people get to know you and start calling you for others. *It takes about 2 months to put an award show. *A “Dub Stage” is where you mix a t.v. show. *Don Mischer Productions does award shows. *I am either editing library music or writing music for the award shows. *Label and management decide what music they want played when their artists come on stage for award shows and I have to work with them to put that together. *Award shows are giant marketing events for artists, films, shows, etc. *When actors or models come on stage to be presenters, I have to figure out what their brand is and create music that fits who they are. Then their managers have to approve it most of the time. *The stress in award shows comes when they don’t tell you who the artists or presenters are until about a week before the show. So you’re doing stuff blind and chasing a lot of rumors and sometimes do work for no reason. *You’re going to do a lot of work for nothing, but that’s part of the job. *I do pop culture award shows, not academy awards, etc. *You only get about 48 hours to turn a song for t.v. shows. *I rarely have time as a music supervisor to reach out and ask licensing agents for songs to put in a show. I have reached out directly to artists and had them send me music that I needed right at that moment. *A music supervisor’s sentiment for putting an artist’s music in a show should be “thank you,” not “you’re welcome, I just got you exposure on social media.” That is devaluing you as an artist. *We have devalued music for the past 25 years. *Music supervisors should appreciate the artists and thank them for making the show successful. *Music supervisors should always be respectful of the musician’s art making their show better. *I would love to see the business of music stop accepting less all the time and try to be innovative and get back to more with innovation. *I moved to Nashville with the goal of saying “how can we break the mold entirely and start over again with a new model that will actually generate real revenue for artists and not just take whatever we’ve left them by giving away things all the time." *I have a company called <a href="http://blacksleevemedia.com/" rel="nofollow" target="_blank">Black Sleeve Media</a> to create a new medium for music that can be experiential like the video gaming world where people will find value in and spend money on. *We’ve built technology for mobile devices that can play back multiple multi-tracks all at one time to gamify the experience of music and tie it all to different social experiences and communication experiences and festivals, and tie to brands, etc. and make it so you’re actually participating in music. It’s all virtual currency based so you’re not buying music but unlocking features and things they can do with music that will pay the artist the same way that the sale of CD would pay. *It’s mostly on mobile platforms working with artists and festivals to connect with the users. *Advice for getting into this world? *Do a lot of different things. They all have their own life and they all tie together so be free in not saying I only do one thing. *Someone taught me a technical skill to match my mental skill so I could express myself. *If you want to get into music supervision, there is a tremendous amount of value in technical skills. In being able to present your ideas to directors and producers they you hear them in your mind. *Learn how to edit music. Learn how to marry that music to Quicktime so you can take a show and put the scenes and music together edited the way you want. *The difference between being able to present yourself and your creative ideas as a music supervisor to picture, edited the way you hear them so it’s artistically doing what you’re hearing in your head, compared to just telling people your a music supervisor is huge. *Show them you have a clever, creative style. *You can’t show style without being able to present yourself. *Music supervision is a very hard world to get into now. *Learn how to program and do everything. It’s a job. *You don’t have to do it all at once, just get on the path. It’s a long journey. *It’s your presentation. *How do you approach a production company to show them a demo reel so you can become a music supervisor or composer? *You can get an agent like CAA or First Artist Management. There are multiple talent agents you can look up. *If you can show them something, they’ll watch it. You are competing against a bunch of people who have nothing to show for themselves. *Make something to show for yourself. *You don’t have to be signed with an agent to be a music supervisor, but it sure helps. *What is a talent agent going to do for you? If you’re new, they will connect you with indie films and small projects that nobody on the roster wants to do because it pays a smaller amount. They can offer that to you and if you follow through with it and do it well it will lead to bigger things, but you will only get the job is you SHOW them you can do the job, not tell them you can do the job. *Telling people you can do this job doesn’t help you. Showing them you can do this job helps you. *You can research “music supervision agency” or “composer agency.” *Music editors are critical because they are the pass-through in between the composer and the music supervisor and the show. *Music editors are critical people to get to know and send music to and work with. *Music editors are your first line people to get music to as an independent artist because they have to add temp music to picture. Give them music and ask them just to temp with it. It will most likely get replaced but it means that your music is getting shown to directors and you might be able to get a copy back and use it as a demo reel. *You’re just trying to show people what you can do to start and it will come from there. *Nobody is getting music in front of directors and producers more than a music editor with their own music because they have the knife and a picture with no music that needs temp music. *The music editor is the one who shapes the sound of t.v. show pilot more than anyone. *Music editing companies hire music editors. They don’t need an agent. *This is all one big job. Learn how to dive in and edit your music. *Pick 10 different shows and try the same song in all different environments and you’ll find out where it works best. That will teach you a lot about your music. *Comedy is the hardest to thing to put music to. If you can do that well you can jump to the front of the line because it is a very niche thing in Hollywood. *Don’t try to be something. Be you and try you in a lot of different things. *Learn what you’re good at by applying it to all different things. *Doug’s <a href="https://dougdeangelis.net/" rel="nofollow" target="_blank">website</a> Doug DeAngelis is a composer/producer/musical director and music supervisor. He began his professional career at age 18 at SyncroSound Recording Studio in Boston while attending Berklee College of Music for music synthesis. At age nineteen, he recorded the Nine Inch Nails hit “Head Like A Hole” with Trent Reznor and world-renowned producer Flood. In 1989, DeAngelis left Boston on a world tour with the Detroit Techno crossover dance artist Inner City. After the tour, he moved to New York City where he amassed over 300 album &amp; remix credits including 31 #1 Billboard Chart singles. Album credits include New Order, Michael Jackson, Queen Latifa, Chaka Khan, Love and Rockets, Alicia Keys, and No Doubt. Doug's career then shifted to Los Angeles where his music was embraced by Hollywood producer Michael Mann as the score for his CBS crime drama series Robbery Homicide Division.  His music has since appeared in over 100 television shows including CSI, Baby Daddy, The Evidence, The Nine Lives Of Chloe King, Bones, Alias, Cold Case, CSI Miami, ER, as well as dozens of reality television programs. He has written main title themes for Chelsea Lately, CNN Heroes, E! True Hollywood Stories Investigates, The NASCAR franchise, and co-written the main title songs to the film Blades Of Glory starring Will Ferrell, and The American Country Awards. Recently, Doug won a BMI Music Award for his underscore to the FOX series 'Lie To Me', and composed the score for an Academy Award nominated feature documentary film entitled 'The Garden'.  Outside of the studio, Doug is the Conference Chair and Co-Founder of A3E, The Advanced Audio &amp; Applications Exchange. A3E is a leading industry resource dedicated to the future of new music technologies. A3E is an educational partner to NAMM, The National Association Of Music Merchants.

Episode 7: Doug DeAngelis (Part 2) - Make Something To Show For Yourself

I met Doug DeAngelis at a Music Supervision event in Nashville recently and was intrigued because he has been a pioneer in what we know as dance, pop and rock music. His unique work as a music director and supervisor for award shows got my attention and I knew I wanted him on the show. In part 1 of our conversation Doug and I discuss his time producing the biggest names in pop music, being a composer for hit television shows and what it takes to be a music director for live t.v. Show Notes: Sponsors: Edenbrooke Productions - We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at contact@johnmartinkeith.com.   Talking Points: *I programmed analog synthesizers in the early days before MIDI and went to Berklee College of Music to study music synthesis. *I saw music in colors and textures and layers. *Enthusiasm is the single best ingredient in professional musicianship. Nothing beats enthusiasm. *I started working at Syncro Sound studios owned by The Cars. *It had one of the first MIDI rooms in the country and I worked programming. *My first big project to work on was the debut album of Nine Inch Nails. *Then went on tour with the band Inner City, one of the first pop/house (Detroit Techno/Club) music bands. *Doug is a pioneer in Dance/Club music. *Moved to New York to work for David Franken McMurphy and that was my start with working on all the big artists in pop music. *When re-mixing an album, the record label picks the DJ and the DJ picks the producer to do the re-mix. *Moved to L.A. to work on more records and ended up working in T.V. by accident. I got a call to be the music director for a live talent show called Next Big Star with Ed McMahon, a precursor to American Idol. I ended up becoming the music supervisor as well not knowing what that even meant. *What does “clearing a song” mean for use on t.v. and film? It means identifying who the rights holders are for both the physical recording (the master) and the copyright (the publishing). Learning what cost is for all the different types of usages in t.v. or film. Learning how to do the paperwork and going out and getting the rights to license the songs to be used and have them signed off on before the show airs. *Don’t say no to an opportunity. Say yes! Figure it out and do it. *If you don’t take the opportunity when it comes your way, there are hundreds people waiting to take it from you. *You have to be more enthusiastic than ALL the people you’re working with. More than your bosses, the contestants, the artists your producing music for, the songwriters you’re cutting demos for. That’s what people need. That’s the job. *When you are making music for t.v. where you are on the clock, sometimes you are working for hours on a song and find out you can’t clear the rights to use it and you have to scrap it and start over knowing you have a lot more songs still do. Even then you have to stay enthusiastic. That’s the job. *Don’t leave a project until you know you have made your client happy based off what you know you are capable of accomplishing. *If you don’t impose your talent level on the client, you’re not finished yet. That’s enthusiasm. *Elevate everyone around you. *People who are great take everybody with them. *If you want to work professionally as a musician, producer, songwriter, composer, music supervisor, etc. , make “that’s great” the base line for what you do and go beyond that until the client says “that’s the greatest thing I’ve ever heard.” *Big things are easy to get right. It’s the little things that matter. *How did you transition from Music Directing on live t.v. shows and music supervising to be a composer for t.v. shows? *After multiple t.v. talent shows I produced a record for the group Love and Rockets and the singer and I started making music together that landed on some projects. We signed with CAA talent agency and pitched our reel to producer Michael Mann and landed the job scoring Robbery Homicide. That was my first job scoring a t.v. show. *Why sign with an agency like CAA? my partner Kevin already had a connection with them because of his band Love and Rockets and we had an advantage of getting our music heard. *When a new show is coming out, the studios will go to the big agents and say so and so has a new show and he is looking for a certain kind of music. Then everybody sends in their reels and the producer picks what they like. *t.v producers and music supervisors, etc. go to licensing agencies and talent agencies for music and composers because they can vet you and your work to make sure your music is good and you can handle the pressure of the schedule, the pace, etc. which is very taxing. *Scoring a drama is a 6 or 7 day turnaround which means 3 or 4 days to write the score because you have to have time for the producers and directors to hear it and make notes, then you revise the score and have it to stage the day before they mix the show. *All of that is for about 35 minutes of score in an 60 minute show. *What does a 24 hour day look like when you are scoring a show? *Realistically you work 18-19 hours a day and sleep 5-6 hours. * “Spot the episode” - meaning the composer, music supervisor, editor, director and the sound effects group meet together to watch a cut of the episode and you walk through it beat by beat, top to bottom of the showing making notes of what should be score, where there should be a song, where they want only sound design, end score, etc. *Then you have to remember what you talked about and create score and songs around that because there are no sound effects, etc. actually there yet. *When you’re scoring, understand that the better the film, the better your experience getting started at scoring is going to be. *It’s very hard to score to picture that is not good. Film, dialogue, story, cinematography, etc. make everything roll easier. *Music is all about you. When you’re scoring music for picture, it’s not about you anymore. *You always have to keep in mind that the episode started as a script about a year and a half ago going through a bunch or re-writes and back and forth with the studio getting rejections. Then they shot it and re-shot it because the acting wasn’t great, etc. *By the time it gets to you, It is what they want. So you have to be aware of that and score music that is subservient to the dialogue and the story that’s being told and it has to move with it. *The real job of a composer is to make each emotional turn and twist moment by moment with the dialogue and to tell the stories that the director is having a hard time telling. *You have to guide the audience to things that are important and away from things that are important with a score. *You’re also fixing things that aren’t working in the picture. Bad acting, a script that someone is unhappy with, or even subtle things like a beat is too long, etc. *You’re also fixing things as a music supervisor. The job is not just to polish something that was already great. *A lot of times a scene is over done and you need to downplay with the score. *You learn the banter between the executive producers and what they like and dislike so you can know how to fix problems in a scene with a score. *Comedy is the hardest genre to put music to. *The craft of a sitcom is to move from one scene that has a joke to a new scene in 3-5 seconds with a girl crying and getting from a chord that feels great with the joke to a heartbreak in two chords and it not feel horrible. *Every genre is a different craft.   Check out Doug's website   Doug DeAngelis is a composer/producer/musical director and music supervisor. He began his professional career at age 18 at SyncroSound Recording Studio in Boston while attending Berklee College of Music for music synthesis. At age nineteen, he recorded the Nine Inch Nails hit “Head Like A Hole” with Trent Reznor and world-renowned producer Flood. In 1989, DeAngelis left Boston on a world tour with the Detroit Techno crossover dance artist Inner City. After the tour, he moved to New York City where he amassed over 300 album &amp; remix credits including 31 #1 Billboard Chart singles. Album credits include New Order, Michael Jackson, Queen Latifa, Chaka Khan, Love and Rockets, Alicia Keys, and No Doubt. Doug's career then shifted to Los Angeles where his music was embraced by Hollywood producer Michael Mann as the score for his CBS crime drama series Robbery Homicide Division.  His music has since appeared in over 100 television shows including CSI, Baby Daddy, The Evidence, The Nine Lives Of Chloe King, Bones, Alias, Cold Case, CSI Miami, ER, as well as dozens of reality television programs. He has written main title themes for Chelsea Lately, CNN Heroes, E! True Hollywood Stories Investigates, The NASCAR franchise, and co-written the main title songs to the film Blades Of Glory starring Will Ferrell, and The American Country Awards. Recently, Doug won a BMI Music Award for his underscore to the FOX series 'Lie To Me', and composed the score for an Academy Award nominated feature documentary film entitled 'The Garden'.  Outside of the studio, Doug is the Conference Chair and Co-Founder of A3E, The Advanced Audio &amp; Applications Exchange. A3E is a leading industry resource dedicated to the future of new music technologies. A3E is an educational partner to NAMM, The National Association Of Music Merchants. 

I met Doug DeAngelis at a Music Supervision event in Nashville recently and was intrigued because he has been a pioneer in what we know as dance, pop and rock music. His unique work as a music director and supervisor for award shows got my attention and I knew I wanted him on the show. In part 1 of our conversation Doug and I discuss his time producing the biggest names in pop music, being a composer for hit television shows and what it takes to be a music director for live t.v. Show Notes: Sponsors: <a href="https://edenbrookemusic.com/" rel="nofollow" target="_blank">Edenbrooke Productions</a> - We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at contact@johnmartinkeith.com.  Talking Points: *I programmed analog synthesizers in the early days before MIDI and went to Berklee College of Music to study music synthesis. *I saw music in colors and textures and layers. *Enthusiasm is the single best ingredient in professional musicianship. Nothing beats enthusiasm. *I started working at Syncro Sound studios owned by The Cars. *It had one of the first MIDI rooms in the country and I worked programming. *My first big project to work on was the debut album of Nine Inch Nails. *Then went on tour with the band Inner City, one of the first pop/house (Detroit Techno/Club) music bands. *Doug is a pioneer in Dance/Club music. *Moved to New York to work for David Franken McMurphy and that was my start with working on all the big artists in pop music. *When re-mixing an album, the record label picks the DJ and the DJ picks the producer to do the re-mix. *Moved to L.A. to work on more records and ended up working in T.V. by accident. I got a call to be the music director for a live talent show called Next Big Star with Ed McMahon, a precursor to American Idol. I ended up becoming the music supervisor as well not knowing what that even meant. *What does “clearing a song” mean for use on t.v. and film? It means identifying who the rights holders are for both the physical recording (the master) and the copyright (the publishing). Learning what cost is for all the different types of usages in t.v. or film. Learning how to do the paperwork and going out and getting the rights to license the songs to be used and have them signed off on before the show airs. *Don’t say no to an opportunity. Say yes! Figure it out and do it. *If you don’t take the opportunity when it comes your way, there are hundreds people waiting to take it from you. *You have to be more enthusiastic than ALL the people you’re working with. More than your bosses, the contestants, the artists your producing music for, the songwriters you’re cutting demos for. That’s what people need. That’s the job. *When you are making music for t.v. where you are on the clock, sometimes you are working for hours on a song and find out you can’t clear the rights to use it and you have to scrap it and start over knowing you have a lot more songs still do. Even then you have to stay enthusiastic. That’s the job. *Don’t leave a project until you know you have made your client happy based off what you know you are capable of accomplishing. *If you don’t impose your talent level on the client, you’re not finished yet. That’s enthusiasm. *Elevate everyone around you. *People who are great take everybody with them. *If you want to work professionally as a musician, producer, songwriter, composer, music supervisor, etc. , make “that’s great” the base line for what you do and go beyond that until the client says “that’s the greatest thing I’ve ever heard.” *Big things are easy to get right. It’s the little things that matter. *How did you transition from Music Directing on live t.v. shows and music supervising to be a composer for t.v. shows? *After multiple t.v. talent shows I produced a record for the group Love and Rockets and the singer and I started making music together that landed on some projects. We signed with CAA talent agency and pitched our reel to producer Michael Mann and landed the job scoring Robbery Homicide. That was my first job scoring a t.v. show. *Why sign with an agency like CAA? my partner Kevin already had a connection with them because of his band Love and Rockets and we had an advantage of getting our music heard. *When a new show is coming out, the studios will go to the big agents and say so and so has a new show and he is looking for a certain kind of music. Then everybody sends in their reels and the producer picks what they like. *t.v producers and music supervisors, etc. go to licensing agencies and talent agencies for music and composers because they can vet you and your work to make sure your music is good and you can handle the pressure of the schedule, the pace, etc. which is very taxing. *Scoring a drama is a 6 or 7 day turnaround which means 3 or 4 days to write the score because you have to have time for the producers and directors to hear it and make notes, then you revise the score and have it to stage the day before they mix the show. *All of that is for about 35 minutes of score in an 60 minute show. *What does a 24 hour day look like when you are scoring a show? *Realistically you work 18-19 hours a day and sleep 5-6 hours. * “Spot the episode” - meaning the composer, music supervisor, editor, director and the sound effects group meet together to watch a cut of the episode and you walk through it beat by beat, top to bottom of the showing making notes of what should be score, where there should be a song, where they want only sound design, end score, etc. *Then you have to remember what you talked about and create score and songs around that because there are no sound effects, etc. actually there yet. *When you’re scoring, understand that the better the film, the better your experience getting started at scoring is going to be. *It’s very hard to score to picture that is not good. Film, dialogue, story, cinematography, etc. make everything roll easier. *Music is all about you. When you’re scoring music for picture, it’s not about you anymore. *You always have to keep in mind that the episode started as a script about a year and a half ago going through a bunch or re-writes and back and forth with the studio getting rejections. Then they shot it and re-shot it because the acting wasn’t great, etc. *By the time it gets to you, It is what they want. So you have to be aware of that and score music that is subservient to the dialogue and the story that’s being told and it has to move with it. *The real job of a composer is to make each emotional turn and twist moment by moment with the dialogue and to tell the stories that the director is having a hard time telling. *You have to guide the audience to things that are important and away from things that are important with a score. *You’re also fixing things that aren’t working in the picture. Bad acting, a script that someone is unhappy with, or even subtle things like a beat is too long, etc. *You’re also fixing things as a music supervisor. The job is not just to polish something that was already great. *A lot of times a scene is over done and you need to downplay with the score. *You learn the banter between the executive producers and what they like and dislike so you can know how to fix problems in a scene with a score. *Comedy is the hardest genre to put music to. *The craft of a sitcom is to move from one scene that has a joke to a new scene in 3-5 seconds with a girl crying and getting from a chord that feels great with the joke to a heartbreak in two chords and it not feel horrible. *Every genre is a different craft. Check out Doug's <a href="https://dougdeangelis.net/" rel="nofollow" target="_blank">website</a> Doug DeAngelis is a composer/producer/musical director and music supervisor. He began his professional career at age 18 at SyncroSound Recording Studio in Boston while attending Berklee College of Music for music synthesis. At age nineteen, he recorded the Nine Inch Nails hit “Head Like A Hole” with Trent Reznor and world-renowned producer Flood. In 1989, DeAngelis left Boston on a world tour with the Detroit Techno crossover dance artist Inner City. After the tour, he moved to New York City where he amassed over 300 album &amp; remix credits including 31 #1 Billboard Chart singles. Album credits include New Order, Michael Jackson, Queen Latifa, Chaka Khan, Love and Rockets, Alicia Keys, and No Doubt. Doug's career then shifted to Los Angeles where his music was embraced by Hollywood producer Michael Mann as the score for his CBS crime drama series Robbery Homicide Division.  His music has since appeared in over 100 television shows including CSI, Baby Daddy, The Evidence, The Nine Lives Of Chloe King, Bones, Alias, Cold Case, CSI Miami, ER, as well as dozens of reality television programs. He has written main title themes for Chelsea Lately, CNN Heroes, E! True Hollywood Stories Investigates, The NASCAR franchise, and co-written the main title songs to the film Blades Of Glory starring Will Ferrell, and The American Country Awards. Recently, Doug won a BMI Music Award for his underscore to the FOX series 'Lie To Me', and composed the score for an Academy Award nominated feature documentary film entitled 'The Garden'.  Outside of the studio, Doug is the Conference Chair and Co-Founder of A3E, The Advanced Audio &amp; Applications Exchange. A3E is a leading industry resource dedicated to the future of new music technologies. A3E is an educational partner to NAMM, The National Association Of Music Merchants.

Episode 6: Doug DeAngelis (Part 1) - Nothing Beats Enthusiasm

Composer, producer and music supervisor Doug DeAngelis is my guest on the podcast today.Doug hit paydirt early in his career when he recorded the Nine Inch Nails hit “Head Like A Hole.” In 1989, he embarked on a world tour with the Detroit Techno crossover dance artist Inner City, but after that he moved on to studio work in New York City, where he amassed over 300 album and remix credits, including 31 #1 Billboard Chart singles. Doug’s album credits include New Order, Michael Jackson, Queen Latifa, Chaka Khan, Love and Rockets, Alicia Keys, and No Doubt, among others.Doug’s career then shifted to Los Angeles where his music was embraced by Hollywood producer Michael Mann as the scorer for his CBS crime drama series Robbery Homicide Division. His music has since appeared in over 100 television shows including CSI, Bones, CSI Miami, and ER, as well as dozens of reality and late night television programs.Doug is also the Conference Chair and Co-Founder of A3E, The Advanced Audio &amp; Applications Exchange, a leading industry resource dedicated to the future of new music technologies. He’s also involved in an interesting interactive music app called Stylus,In the interview we talked about the early days synthesizer programming, becoming a mixer in New York City, composing for television, his newly developed Stylus app, and much more.On the intro I’ll take a look at the latest numbers on music sales from the RIAA, and take an overview at the new USB 3.2 computer ports (and a look at all the other USB ports too).

Composer, producer and music supervisor Doug DeAngelis is my guest on the podcast today. Doug hit paydirt early in his career when he recorded the Nine Inch Nails hit “Head Like A Hole.” In 1989, he embarked on a world tour with the Detroit Techno crossover dance artist Inner City, but after that he moved on to studio work in New York City, where he amassed over 300 album and remix credits, including 31 #1 Billboard Chart singles. Doug’s album credits include New Order, Michael Jackson, Queen Latifa, Chaka Khan, Love and Rockets, Alicia Keys, and No Doubt, among others. Doug’s career then shifted to Los Angeles where his music was embraced by Hollywood producer Michael Mann as the scorer for his CBS crime drama series Robbery Homicide Division. His music has since appeared in over 100 television shows including CSI, Bones, CSI Miami, and ER, as well as dozens of reality and late night television programs. Doug is also the Conference Chair and Co-Founder of A3E, The Advanced Audio &amp; Applications Exchange, a leading industry resource dedicated to the future of new music technologies. He’s also involved in an interesting interactive music app called Stylus, In the interview we talked about the early days synthesizer programming, becoming a mixer in New York City, composing for television, his newly developed Stylus app, and much more. On the intro I’ll take a look at the latest numbers on music sales from the RIAA, and take an overview at the new USB 3.2 computer ports (and a look at all the other USB ports too).