Podcast
Composer Breakthrough
Hosted by Breakthrough the blocks in your composing career and take your music to the next level. · EN
Composer Breakthrough is dedicated to helping composers break through their creative and career blocks so they can build the life they truly desire around the music they love creating.
richardpryn.substack.com
richardpryn.substack.com
10episodes
Episodes
Newest firstAll episodes
Building 720K YouTube Channel With Greg Dombrowski (Secession Studios)
Oct 2101:04:07Tap to summarizeIn this episode, I sat down with Greg Dombrowski, the composer and creator behind Secession Studios - a hugely successful music channel on YouTube with 720,000+ subscribers. Starting in 2011, Greg has built a sustainable composer income without chasing trends, grinding daily content, or obsessing over algorithms.We delve into how Greg’s unconventional approach - uploading one track per week and focusing on genuine craft over optimisation - has become the most reliable path to audience growth and creative success.[Read the full article]What We Cover:The Origin Story* How Greg went from ski hill lift operator to full-time composer* Starting Succession Studios in 2011 with simple visualizers* The one-year transition from his mom’s basement to financial independence* Why early YouTube monetisation was crucial to his strategyThe Real Money: Content ID vs. AdSense* Why YouTube ad revenue isn’t the primary income source* How Content ID became his revenue foundation (2/3 of income)* The role of distributors like Tunecore and third-party claimers like AdRev* Licensing placements, BMI royalties, and Spotify streams as secondary incomeThe Strategic Pivot: From Immediate Music to Full-Time YouTube* Why Greg left a prestigious in-house composer role at Immediate Music* The moment when YouTube income exceeded his salary* Balancing trailer work with YouTube releases* How he chose self-employment over securityThe Counter-Intuitive Strategy That Actually Works* Why posting ONE track per week outperforms daily content* How Greg handles algorithm anxiety and flat-performing videos* The belief system that sustains long-term creative work* Why tracks sometimes take 2-3 years to “pop off”The Craft Foundation* Orchestral libraries that form his signature sound (Spitfire Abbey Road 2, Embertone Joshua Bell)* The importance of sketching on the piano before production* Layering techniques: combining multiple libraries, heavy EQ, and detuning drums* Why reverb blending (short, mid, long) creates sonic depth* The three-act structure that gives tracks emotional payoffWhy He Ditched AI Artwork* The temptation of Midjourney and why it backfired* How AI imagery hurt his credibility (people assumed the music was AI too)* His perspective on AI in creative fields and the power of public resistance* Why licensing real artists actually strengthens his brandFor Emerging Composers* The three essentials for starting a YouTube music channel today* Why quality matters more than quantity when you’re building from zero* How to package music thoughtfully (titles, artwork, context)* Building a “wall around your belief” to survive algorithmic fluctuationsThe Bigger Picture* Why modern creator advice often conflicts with genuine artistic growth* The tension between being a composer and a “content creator”* How slow, consistent growth compounds over a decade* Whether starting YouTube in 2025 is still viable (spoiler: yes, but differently)Key Takeaways:* Belief precedes results - Internal conviction that your work will find its audience is as important as the quality of the work itself* Consistency beats optimisation - One thoughtful track per week outperforms daily rushed content* Choose craft over metrics - Focus on making genuinely excellent music rather than chasing algorithm behaviour* Income diversification is built in - YouTube AdSense, Content ID, licensing, and streaming royalties combine to create a stable income* Platform trends come and go, craft endures - Don’t sacrifice your artistic vision to catch every trend waveResources Mentioned:* Succession Studios YouTube Channel: [720K+ subscribers, weekly releases]* Libraries: Spitfire Audio (Abbey Road 2, Albion), Embertone Joshua Bell, Damage 1 & 2, Heaviosity* Distribution: Tunecore, Distrokid, AdRev, Hawk (Content ID services)* DAW: Logic Pro* Hardware: Mac Pro 2019Links:* Read the full breakdown of Greg’s strategies, production techniques, and philosophy: https://richardpryn.com/secession-studios-youtube-composer-strategy* Subscribe to Secession Studios* Connect with GregUseful For:* Composers wanting to build a sustainable YouTube presence* Anyone considering music as a full-time career path* Creators struggling with algorithm anxiety* Producers interested in orchestral layering techniques* Anyone asking whether consistency and belief still matter in modern mediaEpisode Length: 1:04:07 Guest: Greg Dombrowski (Secession Studios) Host: Richard Pryn This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit richardpryn.substack.com
Transcribe →
The Custom Music Survival Guide
Oct 900:26:13Tap to summarizeEver feel like your dream gig is turning into a nightmare? In this episode, I’m tackling the intense reality of custom music projects, particularly in the demanding world of trailer composition.If you’re composing from the UK, Germany, or anywhere outside of LA, you know the struggle: getting home from your day job only to realise your second shift—the one that lasts until 3 AM - has just started. I share how this cycle of working through the night led me to painful burnout.I’ll reveal the essential strategies I learned to survive (and thrive):* The Deadline Myth: Learn how to spot the difference between the client’s real deadline and a middleman’s unfair deadline, and why you must stop overworking to make them look good.* The Partnership Principle: Why your relationship with a music production company must be an equal partnership, and how to set firm boundaries—even if it means risking the gig.* Speed Over Sublimity: Tips for optimising your workflow with templates and knowing when to stop working, submit, and trust the process.* The Financial Weigh-In: Why focusing all your energy on a low-odds custom is often less profitable than writing tracks for an album that provides stable, asynchronous income.Whether you’re struggling with work-life balance or just landed your first custom brief, this episode is your survival guide to valuing your time and making this tough business work for you.➡️ Read the Full Article: https://richardpryn.com/the-custom-music-survival-guide/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit richardpryn.substack.com
Transcribe →
The Reality of a Composer's Income: Building Financial Security in an Unpredictable Industry
Oct 100:17:45Tap to summarizeIn this episode, I wanted to discuss how composers get paid and how you can take control of your largely unpredictable income.Read the full article here: https://richardpryn.com/the-reality-of-a-composers-income/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit richardpryn.substack.com
Transcribe →
Inside the Production Music Industry with Taz Mattar
Sep 2400:57:02Tap to summarizeIn this episode, I sat down with Taz Mattar, Head of Studio and IT Services at Cavendish Music—one of the UK's largest production music libraries. With nearly 20 years in the industry, from working with legendary producer Trevor Horn to mastering 70+ albums annually, Taz pulls back the curtain on how production music really works.What We Cover:The Business Behind the Music* How production music libraries actually operate and make money* Why Netflix chooses library music over commercial tracks* The difference between sync fees, royalties, and custom workGetting Your Music Placed* What's currently in high demand (spoiler: reality TV music is huge)* The biggest mistakes composers make when submitting demos* Why presentation matters as much as the music itselfIndustry Insider Secrets* The "50-track rule" most composers never learn* Why being "precious" about your art kills your career* How AI is starting to impact the industry (and what's safe for now)Practical Advice* What libraries actually want in demo submissions* How the approval and production process really works* Timeline expectations for seeing real income from production musicKey Takeaway:The production music industry isn't as mysterious as it seems—but it requires treating your music as both art and business. Success comes down to consistent output, professional relationships, and understanding what clients actually need.Want the full breakdown? Read the complete article and actionable insights in my detailed blog post: Inside the Production Music Industry with Taz Mattar: A Library Insider's Guide to Getting Your Music Placed Useful for: Composers wanting to break into production music, understanding the sync licensing world, or building sustainable music income streams. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit richardpryn.substack.com
Transcribe →
Music Streaming is Broken: Here's Your Exit Strategy
Sep 1800:42:10Tap to summarizeEarlier this week, I saw Venus Theory’s latest video about the situation with music streaming and AI…So, I thought I would record my thoughts on it as it applies to us composers.Read the full article: why-music-streaming-is-broken-and-what-composers-can-do-about-it This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit richardpryn.substack.com
Transcribe →
Time Zone Juggling: Fitting Custom Composer Work Into Your Life
Sep 1000:26:13Tap to summarizeIn this episode, I answer a question from one of my audience:He asked, “How do you work on customs from LA when the time zone difference is so big?” This can be quite an issue for us composers who are not based in the US, but I share with you all the things I have learned from years of Global custom composing.The full article can be found here ⤵️https://richardpryn.com/time-zone-juggling-fitting-custom-composer-work-into-your-life/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit richardpryn.substack.com
Transcribe →
No Time to Compose?
Sep 500:32:43Tap to summarizeIn this episode, I share 5 steps to help make time for composing even when you have a full-time job and a family.Read the full article here: https://richardpryn.com/no-time-to-compose-here-are-5-steps-to-change-that This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit richardpryn.substack.com
Transcribe →
Why Your First Placement Won't Make You Full-Time (Yet)
Jul 3000:13:01Tap to summarizeWe've all been sold the dream: land one big placement, and the work will flood in, allowing you to go full-time with ease. But what happens when the crickets start chirping, and those old fears about consistent income creep back? In this episode, I'm revealing the tough truth about what happens after that first 'big break' – and the scary reality of standing still, waiting for work that often never comes.The good news? You can take control. Join me as I share five actionable strategies I've learned from over a decade in the industry: from building your financial runway and mastering consistent outreach, to understanding the golden rule of relationships, cultivating a resilient mindset, and staying relentlessly focused on your goals. Stop waiting for the phone to ring and start actively building a sustainable, thriving composing career. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit richardpryn.substack.com
Transcribe →
My Full-Time Composer Story
Jul 2300:26:28Tap to summarizeThis transcript is edited for clarity: - My Unfiltered Journey: How I Became a Full-Time ComposerThis is the story of how my life got flipped, turned upside down. I mean, this is how I became a full-time composer. Buckle in, this is going to be quite a long one.The Seed of an Idea: Wanting to Write for a LivingI'm not going to go all the way back, but back to the point where I realised I wanted to write music for a living, or at least, that'd be my thing. This was before I went to university. I was in a band and realised, "I want to write music like Danny Elfman". I wanted to be a film composer.So I found a university degree called Music and Visual Arts, where we studied music and art and the intertwining relationship between the two. It was awesome. I ended up producing video work mostly. My final piece was a collection of video monitors, and on the videos, I had orchestrated a seven-minute-long piece using videos as the video score. It was very conceptual and sounded like a 70s horror movie, but it was a huge amount of fun.Uni was brilliant because it exposed me to so many things.However, my course itself wasn't specifically focused on music for the media. So I took it upon myself to study outside of my university degree to teach myself the things I thought a composer needed. These included the ability to read music, use notation, and understand more advanced harmony beyond major and minor triads. It was a lot of fun. I would just spend my time reading classical music scores, listening to classical music, and training myself to be the composer I thought I needed to be.The Leap of Faith: Saying "I'm a Composer" Before I WasFast forward to the end of my degree. I was telling everybody, "I'm going to be a film composer". I was literally telling everyone I was going to write music for a living. It just so happened that my best friend was in a band, and they wanted some music to walk on stage to in the style of 24. I was a massive fan of that TV show and its score by Sean Callery. So I wrote this piece of music with heartbeats and tension – basically, my first piece of production music.The lead singer's girlfriend happened to work for a music publisher that worked in sync. My name got passed forward, and she asked me to send a reel over. She liked one of the tracks and asked me to come in for a meeting. They told me they put music to ads and asked if I wanted to come on board as one of their composers. I was like, "hell yeah".I remember the train journey home being like, "I've made it. I'm there. I'm a composer". Little did I realise that, as with a lot of work, it's pro bono; you work for free until you land the job. But anyone who's worked in advertising knows that when you land a job, it pays very well, and the royalties can be very, very good. So advertising is pretty ace.The Grind: Teaching and Composing on the SideNone of this was paying the bills and I had to bring in some money. So I started teaching music in schools. I was a classical and electric guitarist, and I did whole-class music lessons. I would teach part-time through the week whilst responding to ad briefs. These ad briefs were amazing because I'd get between one and three of them every day. The deadlines were usually very tight. They'd often send an existing catalogue and ask, "Do you have anything like this?". I'd say, "yep", and spend the next two hours writing a piece of music to fit that brief. It was amazing practice. Sidenote - You can do the same with Taxi now; they send briefs every day, and you can practice your writing skills.I was writing to brief every single day, sending tracks off. Most of the time, my tracks got nowhere, with no feedback. Sometimes, one would get to the next round, but more often than not never wnet anywhere.Small Wins & Big BreakthroughsThis continued for three years. The first job I landed was a Hewlett-Packard online ad, which paid £500. At the time, that felt massive because it was about two weeks of my teaching income. In those three years, nothing happened apart from that ad. Then, in the third year, I landed a Nokia internet thing, which paid about a thousand pounds, which was huge.But little did I know, around the corner was my first big placement: a national TV ad for a cheese company. The ad fee was £10,000 for the year, which, back then, would be matched in royalties, and it did. They re-licensed that for two more years. That was massive. I had my first big national TV ad and suddenly got a bit more respect because I'd landed something. I had something on my showreel that wasn't just an internet ad. All of a sudden, I felt like the real deal; I felt like I was a composer.I started getting other smaller things too, but despite this, nothing enabled me to stop teaching in schools as a part-time job. Then, I got my first gig writing for a production music library. I’d write an album based on their brief, and they'd pitch it. I really enjoyed this work. It never really landed anything massive, but I got a few TV promos from it, which were brilliant for my showreel. At this point, after three to four years of part-time composing whilst teaching, I was feeling a little bit frustrated.Then I started working in trailers. One of the production music companies I worked for said, "Hey, I know these guys in LA, they do trailer stuff. Do you fancy having a go?". I was like, "Trailer music is a thing?" I thought it was just film scores. I got with them, that was Pusher Music - an excellent bunch of people who taught me so much about writing trailer music.I landed my first trailer with them: Men in Black 3, Trailer 3. The Turning Point: Frustration & The Leap of FaithIt got to this point: my wife was pregnant with our firstborn. This was now approaching six years of part-time composing, and I was feeling really frustrated. I had been taking the money I got paid for music and creating a runway, which I strongly advise any composer to do.By this point, I knew other composers who started after I did, and they were full-time already. Some were jetting off to LA to work with big composers, or landing big trailers or ads. I was feeling really frustrated because I wasn't getting anywhere. I decided to just get off the fence.I talked endlessly to my wife about it, saying, "Oh, I'm scared to give up teaching because it's my consistent income". She was like, "Just do it". It felt like that scene in Indiana Jones: "only the penitent man shall pass". So I had to step faithfully onto the invisible bridge.So, I put in my notice for teaching, quitting my job.And lo and behold, I landed two IBM TV ads, and I got approached by a Japanese film company to score their summer blockbuster. That was me off to the races. That was me, after six years, nearing seven, going full-time. And it felt incredible.Key Lessons from My JourneyThis is me sharing my experience of going full-time as a composer. I know loads of composers who went full-time much quicker than I did.* It Might Take Longer Than You Think - but that doesn’t mean it won’t happen.* It's Hard (Despite Social Media's Portrayal) - you have to have a lot of resilience and tenacity.* The Power of Belief & Purpose is paramount - What gets you through that difficulty is having a clear goal and a deep-seated belief that it's what you're meant to do, and that you will achieve that purpose no matter what. * Embrace Every Opportunity (Wisely) - You never know where it will lead.* Remember why you started in the first place: I have achieved what my previous self would have deemed the utmost success – earning a really good living from writing music. It's wonderful, but for me, it wasn't everything. I didn't realise that until I got to that point, and I kind of wanted to give back. This is me doing service for other composers, looking back down the mountain and being like, "Hey guys, this path is simpler". But also taking some time to nourish my own soul by writing music just for me. It's really, really important. It's great to be completely focused on your career, but remember why you started in the first place. It wasn't to earn loads of money. There's a call inside of us to make music. You have to hold on to that. So no matter where you are in your journey, I applaud you. Keep going. Stay positive. Stay focused on that feeling, that joy that music gives you.My "Why" and The Composer AcademyThis is one of the reasons I have decided to launch my program, The Composers Academy. My "why" is so important here. It's all very well that I have like 25 courses where you can learn a huge amount from my experience. But having a place, a community where you can be with other composers who are doing similar things, feeling the same struggles and wins, having a connection with these fellow composers, is incredibly important.So keep those connections. Keep hold of that fire in your belly and that passion. I'm really grateful that you listened and watched (and read). You are awesome, and keep being awesome. If you enjoyed it, sign up for my email list, where I talk about the wins, the struggles, the tips, and tactics of being a composer. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit <a href="https://richardpryn.substack.com?utm_medium=podcast&...
Transcribe →
How I'd start a Career as a Composer in 2025
Jul 1500:23:53Tap to summarizeDiscover what your biggest composing block is and unlock your creative flow by taking my free quizIf I were to start my composing career all over again in 2025, these are the genuine, impactful things I would focus on. This isn't about running ads or getting on Spotify playlists. It's about fundamental shifts that make a huge difference to a composer's journey.For those new to the show, my name is Richard Prynne. I've been a professional composer for over 10 years, and have been doing it part-time for almost 20 years. Over that time, I've learned a few things, and these three points truly make a difference.1. Identify and Conquer Your BlocksThe first thing I'd do is figure out what's truly blocking me. I'm not talking about Lego blocks, but those things hindering your creativity, your career, and your progress.There are five common blocks composers face in their careers:* The Blank Page: This is when you're struggling to come up with ideas in the first place.* The Perfectionist Trap (The Unfinished Symphony): You struggle to finish your ideas, leading to countless unfinished pieces.* The Tech Tangle: The technology feels overwhelming, and you don't know how to use plugins, mix, or master effectively.* The Inner Critic: Your internal voice is too loud, stopping you at any point, even when you've achieved "success".* The Industry Imposter: You don't understand the industry or how to get into it, leaving you unsure what to do with a portfolio you're proud of.If you want to discover your biggest block and how to overcome it, I've created a fun quiz and a free masterclass (it's actually a mini-course) that provides advice on clearing all these blocks.2. Set Clear, Specific Goals (and Understand Your "Why")Once you know what's blocking you, the next crucial step is defining what you truly want to do. Being definite and concrete about your goals is incredibly important. Specificity allows you to formulate the beliefs and actions needed to reach that goal.Early in my career, my goal was simply to "make music my full-time gig". While I achieved it, I later realised I wasn't fulfilled. It got boring because I wasn't specific enough. My goal should have included writing different types of music that fulfilled me and having an outlet to help others.This experience taught me the importance of understanding your "why" – what truly gets you excited and drives you. For me, it's adventure, excitement, fun, variety, and helping others. These are your core values that underlie everything you do.So, be specific: What type of films do you want to score? Where do you want to write them? Who do you want to work with? How much do you want to be paid? All these details matter.3. Practice Achievable Daily HabitsWith your blocks identified and your goals clearly set, the final piece is to establish small, achievable daily actions. These tiny habits are what will help you overcome your blocks and steadily move towards your goals.Let's look at some examples:* If your block is the "Blank Page" and your goal is production music: Set aside five to ten minutes per day to generate ideas without judgment. Sing into your iPhone, record into Logic, or simply write them down. Each idea can then go towards your goal, like creating a crime show underscore.* If your block is "Industry Imposter" and your goal is trailer music: Your daily action is outreach. Dedicate 10 minutes a day to researching trailer music libraries – find out who they are, what music they do, and get contact details. Then, send a tailored email with your best tracks. This puts you in control.* If your block is the "Perfectionism Prison" and your goal is to release an album: Your daily habit is to take an idea and aim to finish the track to about 70% completion, then export it. Don't go for perfect, because perfection is unattainable and constantly changing. Done is better than perfect. This consistent "doing" builds your portfolio towards your album goal.Remember, even when you achieve your goals, the blocks don't disappear. They're like weeds in a garden that still need tending. By practising these daily habits, you learn to use your blocks not as obstacles, but as steps to ascend and climb higher.Ready to Begin Your 2025 Composer Journey?Figure out your biggest block, set your clear goals, and start implementing achievable daily habits.To help you get started, take my free quiz to find out what your biggest block is. And as a bonus, everyone who takes the quiz gets access to my free Composer Breakthrough Masterclass, where I share my favourite advice for overcoming these five blocks. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit richardpryn.substack.com
Transcribe →