Kristian Sensini – Composer Interview

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    Art Munson

    1.) Your name?

    Kristian Sensini

    2.) Any credits you care to mention?

    Composer for the movie Buttergly Rising by Tanya Wright, composer for the movie Hyde’s Secret Nightmare by Domiziano Cristopharo, works for big television networks in Italy (Rai and Mediaset)

    3)How long have you been writing music?

    Since i was 13 years old

    How did you get started?

    I was bored by piano lessons and thought it was more interesting to write and play my own music rather than play music of other people.

    How long have you been writing library/production music?

    I’m in The Music Library Business from about year 2000

    Are you making a living wage writing library/production music?

    Yes if you add the work I custom do for specific big libraries.

    Do you care to give any general figures of annual earnings (low/mid/high 5, 6, 7 figures)?

    About 5 figures

    Are you self-taught or have you studied formally?

    At first self taught then I’ve studied classical flute and earn a degree in Jazz Music at Pesaro Conservatory (Italy) and a Scholarship at Berklee Summer Courses.

    Do you work through music libraries?

    Yes of course

    9a.) If so are they exclusive and/or non-exclusive libraries?

    Both, but i think the more interesting are the Exclusive ones because they care more to do a specific selection of music, and this increase the chance that your music is really placed.

    Do you contact music supervisors, music editors or TV production companies directly?

    Sometimes I do it, sometimes I let my collaborators or my agent do this.

    10a.) If so how do you approach them?

    I just write a generic email message with my short bio, and links to my latest works and to my show reel.

    How do you deal with rejection?

    It happens…it’s part of the job, and if they explain you the reason is a good chance to grow as musician.

    How do you feel about re-titling?

    Not particularly proud of this method but this can help the non exclusive libraries to keep track, of your music…

    What do you have the most success with, royalty free sites or back end PRO royalties?

    for now, Royalty free website… they don’t pay you a lot but they pay regularly. In the past years I’ve raised in total more money with royalty free libraries than with other Music Libraries

    Any tips about writing descriptions, keywords and/or metadata?

    Try to be interesting, and unique in description and titles, and keep the title short and really focused on the genre, this will help your tracks raise in a library with thousand of titles.

    Any trends you would like to comment on (YouTube Content ID, Internet Royalties)?

    I think this fields are at the moment too young to be commented…let’s see what happen in the next years…

    What sort of advice would you give to someone just entering the library/production music world?

    Write amazing music, keep your own voice and sound and be original, don’t try to bee the next Hans Zimmer, but just to be yourself.

    And finally!

    If you were not writing music what would you be doing?

    Directing movies maybe or teaching!

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