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- Опубликовано: 6 фев 2025
- 0:00 Intro
3:05 Prefer orchestral scores
5:28 Create diverse industry
8:02 Musical voice?
10:49 Dub mix delivery loudness
11:44 Career update and strikes
14:35 About themes
16:14 Career outside of LA
19:12 Workflow
21:16 Dealing with feedback
24:04 Who would you want to work with
26:07 Hearing health
27:17 What does it take to be a composer
31:22 Give feedback
33:36 ArtEZ and UCLA
37:03 Always start with a theme
38:06 Get projects
44:04 Film score vs OST
45:59 Taking inspiration
48:08 Vienna
49:13 Resources to connect with filmmakers
49:37 Part-time assistant job
50:35 PC specifications
51:45 Synchron Stage
51:55 Saving a template
53:10 Favorite chord
53:28 Brass libraries
54:24 Career ladder
58:33 How to spot?
1:00:13 Minimum tech requirements
1:02:13 Do you prefer working on games
1:06:17 Cubase load times
1:07:27 Good work ethic?
1:10:28 Dance music production
1:11:10 CD-release for Claus Family 3
1:12:33 Most fulfilling projects
1:13:57 Film Music trends
1:15:28 Trailer music experience
1:16:18 CCs
1:17:29 AI opinion
1:21:02 Join PRO
1:23:14 Orchestral mixing video
1:24:21 Opportunities through RUclips
1:25:42 Educational videos and paying it forward
1:28:03 Best way to practice
1:29:56 Listening to music
1:31:31 Best midi controller
1:32:09 Template in surround
1:32:53 Score delivery specs
1:33:20 Wwise and implementation
1:34:23 Movie directing in your future
1:34:47 Reverbs
1:35:51 What does your day look like
1:38:18 Juggling multiple projects
1:39:50 Where My World Begins EP
1:41:44 Synths and other instruments
1:43:29 Composer events
1:46:12 Best thing to start learning first
1:50:12 Typecasting
1:52:03 Rejections
1:54:01 Library music
1:54:55 High price attracts high-paying clients
1:57:28 Work through RUclips
1:57:59 Writer's block
1:58:57 Fmod/Wwise knowledge
2:00:01 Move back to Europe
2:00:53 Trying out
2:02:03 Online presence
2:03:15 Dream project
2:05:09 BMI news
2:07:15 Contemporary classical music
2:07:57 Modern scoring
2:09:02 Imposter syndrome
2:13:26 Small budget for mics
2:14:40 Different vocations
2:15:46 Live in LA without sponsorship
2:16:42 Orchestra takes
2:18:02 Recording rubato
2:20:30 Learn without assisting
2:21:46 Why record
2:23:23 Composers' nature
2:25:07 Live writing experience
2:27:48 Deadlines force cliches
2:28:48 Does age matter
2:31:22 Favorite Chord Progressions
2:31:40 Good locations outside US
2:34:36 What are you working on
2:36:06 Music tech degree or composition degree
2:37:45 Midi tracks or instrument tracks
2:38:07 Video about drums
2:38:43 Using A.I.
2:40:48 First internship
2:41:39 Favorite coffee and beer
2:43:23 Fee per min. of music
2:47:42 Conforming
2:49:20 Most important thing to practice
2:50:35 VEP stable
2:51:48 Sheet music
2:53:35 Dream sample library
2:57:28 Remote work
2:59:38 Enter Midi
3:00:56 College education
2:02:53 Favorite recording hall
2:04:59 Drum loops
3:06:05 Mockups in final product
3:07:28 Music production for beginners
3:08:35 Latest favorite TV Show music
3:09:22 Composer rights in Europe and USA
3:10:43 Team workflow
3:11:48 Additional writers and assistants
3:12:04 Gaming
3:14:04 Conducting
3:14:24 New music
3:14:48 Genre you wouldn't like to score
3:15:54 Buy new libraries
3:17:25 Musio
3:18:47 Required knowledge
3:20:14 Landing an assistantship
3:32:49 Separate tracks
3:22:16 Your looks and makeup
3:25:19 Favorite DAW
3:26:21 Free work
3:27:58 Games vs movies
3:29:28 Pitching effectively
3:34:18 Interactive music
3:39:26 Communication
3:42:21 Dutch roots
3:42:47 StaffPad
3:42:56 Sync agents
3:43:04 Getting inspiration
3:44:11 Yamaha recorder a synth
3:44:33 Physical media
3:45:54 Concert music
3:46:19 European filmmakers vs Americans
3:55:09 Make music for yourself
3:56:37 More teaching
3:57:50 Software updates
3:59:09 Hostile filmmakers
3:59:54 The Last Front
4:00:19 Streaming services
4:03:02 Playback sessions
4:04:47 Music ownership
4:06:20 Vienna MIR Pro
4:07:29 Tuning
4:08:27 Conservatory training in Germany or Vienna
4:09:36 Reverb on long and shorts
4:10:04 Synth design
4:10:49 Mockup vs sheet music
4:11:56 Copyright
4:12:46 Work on EU productions
4:13:45 Cubase as first DAW
4:14:48 Culture shocks
4:24:59 GDC
4:25:43 Passion for film
4:27:28 Pop songs
4:27:49 Find an agent
4:28:56 Your own voice in pitching
4:29:54 Daily discipline
4:33:25 More instruments
4:33:42 Celebration after wrap
4:34:32 Composer without formal knowledge
4:36:11 How to record orchestra
4:38:08 Composer assistants to become composer
4:38:58 Best neighborhood in LA
4:40:02 Nuendo
4:40:12 Most boring task
4:41:06 Google sheet sale
4:41:24 VEP on one computer
4:41:46 Plagiarism
4:45:24 Outdoor vlogs
4:46:27 Music library to film scoring gigs
4:47:34 Old unpublished music
4:47:43 No accent
4:48:01 Things to do differently
4:51:20 Legacy
4:52:38 Games you've scored
4:56:00 Visas
4:57:22 New composition videos
4:57:54 How many hours spent writing
4:58:37 Sibelius or Dorico
4:59:24 Streaming royalties
5:00:38 Practice ear training
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
FYI to anyone watching the replay: According to RUclips the Chat Replay can take up to 24 hours to show up. It is enabled so it will appear at some point. 🙂 Chapters are in the description.
It's up!
Thank you Anne ! And thx for cutting the replay in little parts!
Guess Anne was already on top of the time stamps herself but i'll leave these up anyway.
As a media composer, I'm sure you're capable of writing in a wide variety of styles. Judging from the bits of music I've heard on your channel, it seems you're mostly writing (or you're best known for) "old school" orchestral scores. Is this the style you generally prefer? 3:05
What can composers do to help create and maintain a diverse community/industry that empowers and protects women, POC, LGBTQ+, etc.? 5:28
What do you advise for composers that are still trying to find their sound or originality? How did you find your musical voice? 8:02
When you deliver stems to a dub mix, is there a typical loudness to aim for? 10:49
Are you able to give a career update, also are the strikes having any impact for you? 11:44
When creating themes that are based on a simple idea, they must be sent for production approval. This means they should be fully developed tracks with orchestration, atmosphere, and instrumentation choices that enhance the main idea. Later, when implementing the themes and theme variations in the film, how committed are you to the original theme tracks and these extra elements (like orchestration and atmosphere)? In other words - When sending the theme tracks for approval, are the tracks themselves considered to be the "theme" which you would later use? 14:35
What advice do you have for getting a career started in film/tv composing when you are in a small town and not likely to relocate to L.A.? Are film scoring competitions helpful for getting your foot in the door or not so much? 16:14
How did the system or workflow you use evolve over time? How did you start finding a productive workflow? And do you use different workflows for different projects, or stick to the same workflow regardless of the project or projects you’re working on? 19:12
How do you deal with director/producer notes without wanting to burn your studio down? 21:16
Which living composer would you most want to work with? Which composer of all time? 24:04
How do you take care of your hearing health? Do you set break times using headphones? 26:07
What exactly does it take to become a highly respected, financially secure and at least reasonably famous media composer, and what can a modestly-talented older hobbyist with a short attention span like myself do to get around that? 27:17
Do you give feedback on people’s compositions and mockups? 31:22
I've read somewhere that, after receiving your Bachelor's degree at ArtEZ, you went to UCLA to finish your studies. Was the Bachelor's not enough? And if it wasn't, how come you didn't do the Master's degree at ArtEZ and then moved to LA afterwards? Did UCLA offer something more than ArtEZ, and if yes, what would that be? 33:36
Do you always start your composition process with a main theme or is it sometimes an intro or ostinato on which the idea is based? 37:03
How do I get projects? 38:06
What are the differences in producing/composing a track/cue for film vs. for the OST (which will be released as stand-alone music). Are OST tracks always used 1:1 in the film or vice versa? 44:04
I am curious about how you react when you listen to a piece of media or music and feel inspired by it. For me, someone more limited, that ends up being a little bit of transcription and just being in awe. For someone more experienced like you, how do you go about converting this feeling of inspiration from other music into your own music? 45:59
What do you do in Vienna? Synchron stage? 48:08
Is there any website or online resources that you’d recommend to find film score gigs, or to connect with directors? 49:13
I was wondering, is it possible to get a part time composer's Asst job? I’m trying to branch out more but am not able to hang up my current job completely. 49:37
What's your PC specification, like cpu, ram, ssd? 50:35
Have you ever recorded at the Synchron Stage in Vienna? 51:45
How do you save your template after finishing a project? 51:55
What is your favorite chord? 53:10
I would like to know what Brass library is the one you use currently? 53:28
Could you picture a career ladder for film composers, starting from entry-level to an AAA class composer? 54:24
How do I start learning how to spot? 58:33
In your opinion, what is the minimum that a budding, bedroom composer would need, setup-wise, in terms of hardware/software? 1:00:13
Do you prefer working on games, and if so, why? 1:02:13
My question is regarding cubase loading times (my projects take forever currently). I noticed you use MIDI tracks. Could you explain your template and how to load large libraries as quickly as possible? 1:06:17
What do you think is a good work ethic for a composer? 1:07:27
Have you ever done any dance music production? 1:10:28
Any plans for a CD-release for Clause Family 3? 1:11:10
What types of film projects throughout your career have been the most fulfilling? 1:12:33
What trends have you noticed in top-tier film music?For example,I've seen the use of super-fast cuts, flashing images, and other effects that can trigger epileptic seizures.Can you name one trend? 1:13:57
Do you have any experience with trailer music? 1:15:28
Do you prefer using only dynamics for modulation, or do you use both dynamics and expression with the mod wheel? 1:16:18
What's your opinion re AI? 1:17:29
Should composers consider joining a PRO like GEMA for Europe and ASCAP for the rest of the world? ASCAP and BMI don't cover "mechanical rights" much. Is that something composers care about? 1:21:02
Hi! Do you mix your own orchestral music and if so, would you consider dedicating a video to that and share your expertise? 1:23:14
Does having a youtube channel with an audience affect your employment opportunities in a similar way that actors with larger social media followings are more likely to get cast? 1:24:21
Your videos are educational and eye opening at times, did you have anyone do what you are doing for us, or did you want to do this because no one was ready to impart this knowledge? 1:25:42
What is the best way to practice? 1:28:03
Could you share how composing changed your perspective listening to music--if at all? Like how your listening changed from the beginning of your journey until now? 1:29:56
What is your most beloved midi controller? 1:31:31
Is your template setup in surround? If not, is that intentional and do we really need it if we have our scoring mixers? 1:32:09
When you deliver the soundtrack cues, do you have to deliver only recordings + midi or also the notation? 1:32:53
Did you learn to work with Wise, regarding composing for video games? 1:33:20
Are you considering movie directing in your future as well? 1:34:23
Do you stick with the exact same reverbs for everything you compose in the same genre? Are there any instruments you shouldn't use plate reverb on, and when does hall/room reverb work better? 1:34:47
What does your day look like? 1:35:51
How do you organize your day when juggling multiple projects? 1:38:18
What was the process like for the Where My World Begins EP? 1:39:50
How would you approach orchestration with synths and other non classical instruments? 1:41:44
What's your favorite IRL composer convention events? 1:43:29
What should beginners start learning first? 1:46:12
Some composers have their sound. You can tell an Elfman, Williams, ... soundtrack and impress/annoy friends when you call it. Would it bother you if your works became similarly recognized/typecasted? 1:50:12
How did you handle the constant rejections at the start of your career? Feels harder to pick up after every no. 1:52:03
How does one start working with library music? Do you send several emails to sample developers? 1:54:01
I wanted to ask if having a high-base price for music commissions attracts high-paying clients is actually true? I'm looking forward to increasing my fee. 1:54:55
Has your RUclips channel led directly to scoring opportunities? 1:57:28
How do you get out of a hole when you have to find a suitable catchy leitmotif and anything you come up with are melodies which are very similar to the existing ones? 1:57:59
How can a composer apply to Game projects if he/she doesn't know about FMOD, Wwise and other implementation tools? 1:58:57
Are you planning on relocating back to Europe in the future? 2:00:01
How much time do you spend trying out each month? Do you go back to pieces you've composed for yourself in the past, or do you start from scratch with each tune? 2:00:53
What do you think is the most efficient method for a composer to establish a presence online, other than RUclips videos (maybe something more short form)? 2:02:03
What would be your dream project to work on? 2:03:15
What do you think is going to be the result of bmi selling and going to profit model? 2:05:09
What do you think about avant-garde contemporary classical music? 2:07:15
Do you see yourself looking for those projects/collaborators that would allow you to write more avant-garde type of music in the coming future? 2:07:57
Did you ever have imposter syndrome? If so How did you overcome this? 2:09:02
Hi , can you give any advice to record an orchestra with a small budget for mics? Would you use close mic with some room mics or would you go for a Decca tree? 2:13:26
Do you ever think about different vocations? 2:14:40
Coming from Europe, is it possible to live in LA without receiving a sponsorship from someone who hires you? 2:15:46
When recording an orchestra do you record several takes? If you do, don't you have problems with the phase cancellation? 2:16:42
For live instruments, Have you had any problems recording parts with rubato or tuning issues? 2:18:02
Hi, Anne, how hard would it be to figure out by yourself all that you learned assisting other composers? 2:20:30
With the quality of mock-ups today, why do composers bother with orchestras anymore? Especially if they're doing hybrid scores? 2:21:46
Do Hollywood composers have cliques or are most people open and friendly? 2:23:23
I have a diploma of choir conductor (Associate degree). How great is the chance to become a composer's assistant, given my experience of writing music for 3 performances in the theater? 2:25:07
Do deadlines cause you to rely on your ‘bag of tricks’? 2:27:48
Does age matter? Or what if someone needed a LOT more than 10,000 hours before feeling "ready"? 2:28:48
What are your 4 Favorite Chord Progressions? 2:31:22
As someone who lives in Europe and has a good paying job and a life here, what other location do you recommend apart from the US ? Or is it mandatory to become a pro composer? 2:31:40
Can you tell us what you are working on at present? 2:34:36
Would you say a music tech degree or a traditional composition degree would be more helpful in the long run? 2:36:06
Do you recommend midi tracks or instrument tracks for your virtual orchestrations? 2:37:45
Can you make a special about Drums. Do you use Compression and which. Do you use sidechaining? 2:38:07
Do you have any interest in using A.I music generation tools and do you know anyone in your area who is using them? 2:38:43
How did you get your first internships to work for established composers? Was it in connection with your school? 2:40:48
What's your favorite coffee and favorite beer? 2:41:39
I'm curious how much would you charge per one min. of music (typical orchestral stuff)? 2:43:23
If there are changes in the reel with respect to duration then how do you manage the Tempo mapping in a project? 2:47:42
What's the most important thing to practice regularly in your opinion, to make our composing skills better in the long run? 2:49:20
How stable is producing with around 500 midi tracks with vienna ensemble? 2:50:35
Is the score of the claus family 2 (main theme) available anywhere? i'm so interested how you made the musical "lift" at 37sec? 2:51:48
What kind of sample library do you wish there was in the market and what sample library that you own currently comes near to fulfill that purpose? Any sample library pet peeves? 2:53:35
Anne, do you ever hire remote composers/Producers, Musicians that are not living in LA? 2:57:28
Do you use a piano player to enter your Midi? 2:59:38
I'd like to ask your opinion on college. How much do you think your college education has helped you during your career? Do you think any connections you get there are more important? 3:00:56
Do you have a favorite recording hall? 2:02:53
What do you think about using drum loops? 2:04:59
With evolving tech everyday do you always have to go from making a mock-up to the orchestral session? Or a nicely mixed mockup also goes with the clients? 3:06:05
Which aspect of music production would you learn first if you're a beginner? and what's the next til the last thing you'll learn after that? 3:07:28
What’s your latest favorite TV Show music? 3:08:35
Any big difference between Europe and the USA about the way the composer rights work? 3:09:22
How does the process work with your assistants re: composing/orchestrating cues? Do you have separate project files for each cue and everyone works on another cue at one time? 3:10:43
Are you ever in need of additional music or any kind of assistant job to help you? 3:11:48
What kinda gaming do you do? 3:12:04
Is conducting a required skill in the film music industry? 3:14:04
When is new music coming? 3:14:24
Hi, is there a (film/game) genre you really love but you wouldn't like to score? 3:14:48
In the past you mentioned stacking CSS with CS2. I already have quite a few string libraries. Do I really have to buy two more? Or would CSS also blend well with e.g. Berlin Strings, Spitfire SS etc.? 3:15:54
How do you feel about Cine Samples Musio? 3:17:25
Do you think there is some kind of minimal music theory and instrument knowledge to become a composer? 3:18:47
Do you have any suggestions for landing an assistantship role? 3:20:14
Can you explain how it works when composing with separate short and long articulations? (instead of everything on the same track with key switches) 3:21:49
Does it annoy you when people mention your looks or makeup in the comments? 3:22:16
What DAW do you prefer to use and why? 3:25:19
When you were talking about starting working on student film projects for making connections, do you mean 100% free work? 3:26:21
When thinking about the addictive character of video games: do you think the worth you put out there is similar or less/bigger than with movies? 3:27:58
What helps you stand apart from the others when auditioning or demoing for a new project? 3:29:28
Do you get involved in the implementation process of music in games? What critical differences in interactive music and how do you come up with it? Can you name the main stages working on a game as a composer? 3:34:18
How come producers, film directors, music supervisors, don't know any music theory vocabulary at all, even vets working decades in the industry? 3:39:26
Do you have Dutch roots, because I see some Dutch collaborations in your portfolio? 3:42:21
What is your opinion on StaffPad? 3:42:47
Can we get connected to sync agents from any part of the world? 3:42:56
When starting a new project, what's your process for getting the inspiration suitable for it? 3:43:04
Is this Yamaha recorder behind you on a synth? 3:44:11
Do you think that we need some new physical media? Something completely new? CDs and vinyl are cool and all and digital has shown its flaws lately. 3:44:33
Have you thought about composing concert music? 3:45:54
Do European producers, musicians, directors, etc. find Americans difficult to work with or just different? In which ways? 3:46:19
Do you feel a need to make music for yourself? A need that working on music for media does not satisfy? 3:55:09
Are you looking at getting into education more? 3:56:37
Sorry if you addressed this already. Other than never updating during projects, how do you deal with software updates? I have older sessions w/ broken links & some that I can't open because of updates. 3:57:50
How do you deal with directors who are hostile? 3:59:09
Can you tell us some more on The Last Front? 3:59:54
Would you also say that the future of film music composers is more and more determined by streaming services ? 4:00:19
I’ve heard somewhere that the amount of times that directors/producers come to visit composers studios have decreased significantly since the pandemic? Is this true or does it just not happen anymore? 4:03:02
Is it possible to negotiate permanent ownership of your music when signing a composer contract? 4:04:47
In your video on reverberations you don't talk about VIENNA MIR PRO. Why didn't you choose it? 4:06:20
Do you use A=440 tuning or do you have some other favorite tuning? 4:07:29
Would you recommend German-speaking composers to study composition in Vienna or Germany? Do you see your conservatory education as the cornerstone of your musical career? 4:08:27
Don't you find it useful to have different amounts of reverb and type of length between long and short patches? 4:09:36
Are you programming your own electronic, non-orchestral patches, or do you outsource that part (sound design) ? 4:10:04
When dealing with film score production, is it more important to be skilled in producing a midi mockup, or to produce notation/sheet music of the composition? Or is the notation assigned to a copyist? 4:10:49
Where do you copyright your music, when it's independent, like your "rejected" music you told about? And that copyright is world-wide? 4:11:56
Given you're in the US has the move limited your ability to do work on EU, UK or other European film/TV companies? 4:12:46
If you were to start making music from the start again, would you choose cubase as your DAW or something else? 4:13:45
Any culture shocks as a German in the USA? 4:14:48
If you are moving towards Games Music would you attend the Game Developers Conference (GDC) in San Francisco next March? 4:24:59
Are directors open to work with composers who don't actually watch films that much? 4:25:43
Have you written any radio friendly pop songs? 4:27:28
Best way to find an agent? 4:27:49
My mentor swears by sticking to a portfolio of music in your own style, your own voice. Do you think it’s better to be true to yourself or bend to making music in the style of others? 4:28:56
How do you develop a consistent discipline to compose on a daily basis? 4:29:54
Do you plan on learning more instruments? 4:33:25
Do you have a celebratory routine after wrapping up on a film? 4:33:42
Are composers that still lack some knowledge (they don't read all clefs, they didn't attend a music school, can't direct orchestra) automatically out of business? 4:34:32
Do you record the full orchestra all together (with the mock up in headphones?) or is it more common to record sections (with the mock up in headphones?) and mix together later? 4:36:11
Is it true that 95% of composers were composers' assistants? 4:38:08
What's the best neighborhood for a composer to live in LA? 4:38:58
Have you considered switching to Nuendo since you've been working on games? 4:40:02
What is the most boring task that Composer's do? 4:40:12
Have you considered making your google cue sheet tracker template available to others, either free or for sale? 4:41:06
Have you used a VEP server on one computer? 4:41:24
How do you make sure that your original composition hasn't already been composed by someone else? 4:41:46
Any more walk-around outside vlogs coming up? 4:45:24
Do you think music library work can lead to getting some Hollywood film composing gigs? 4:46:27
Do you have any old compositions saved from days before success? 4:47:34
How did you get rid of your German accent? 4:47:43
Would you be willing to speak of errors? Things you would do differently? 4:48:01
I am old and afraid I'll never have even one song recognized or recorded. What can I do? 4:51:20
What games have you done the music for? 4:52:38
Do you usually find a job/sponsor first then ask for a visa ? Or do you come with a tourist visa, find a job then switch cards ? Is the only way to get sponsored is to become an assistant ? 4:56:00
Do you have any new Composition videos planned? 4:57:22
If you're having a good day how many hours might you spend writing? 4:57:54
If you work with notation, do you use Sibelius or Dorico? 4:58:37
Are streaming services actually worth it when it comes to royalties? 4:59:24
How did you practice ear training ? 5:00:38
I am impressed with the length of your Q&A! I've watched it all the way, though in various stages. A lot of information overall, thank you. It's not just your "rambling on"; you're actually giving us insight into many practical things that is hardly if at all available for composers on the internet. And I am not even a composer yet, just aspiring to. Thanks for your time!
Your generosity is marvelous...you cared enough about your viewers to field their questions for 5 hrs straight. I don't know many who would be so gracious, with thoughtful, detailed answers. You're a wonderful composer, but an even better person.
I very much agree, as I'm sure many people do!
Thanks so much for the shout out! Of course, we're happy to help out anyone interested in production and library music! And don't worry, "Kropf" sounds like "kopf," so you were close! 🤓
Thank you for the video and one more thank you for answering my question in details...
You're cool!
Anne-Kathrin, thanks for these 5 hours, you also picked and replied to all my questions! It's great to have so many insights coming from the other side of the pond. Wish you all the best!
Thanks!
Liebe Anne-Kathrin...Mit über 5 Stunden bist Du auf jeden Fall eine Kandidatin für eine der längsten Q&A - Sessions ever! 🙂 Vielen Dank für Deine Zeit und Deine Offenheit, Deine Einblicke, Deine Meinungen und Deine Erfahrungen, die Du mit uns allen hier geteilt hast! Vielen Dank und grosses Lob dafür von meiner Seite! Es war, wie immer, sehr informativ und hilfreich! :-)
100% agree with your comments on AI and music. I've worked on the academic side of AI+music composition most of my career, and I'm happy to say I agree it's still nothing human composers should be afraid of. And usually when there's a really good example in the media, it turns out there's a human in the loop modifying or curating the machine output. My own interest is more to use attempts to build AI models as tools to try to understand the human creative process better, but I'm also interested in AI tools to help composers (especially amateur ones such as myself). Anyway, with all the AI hype out there, I'm glad to hear we're in agreement.
Wow, thanks for those timestamps. That's amazing.
Amazing. There are SOOO many composers you have helped here... and soo many interesting and diverse questions. Woah.... Mindblowing! Thankyou
Just catching up! 5 hours - you are a legend! - I'm an hour in but will have to crash as it is midnight here in the UK. Look forward to watching the rest as soon as I have the chance! Thanks for being a star!
You are a sweetheart and an amazing human!, thank you for your hard work and true dedication, ( and off course, all the free masterclasses!!)
I want to thank you so much for this video. I have learned so much, especially about BMI..oh my goodness. I absolutely love your content and frank talk. Thank you.
Thank you very much for all of your time, and information.
Dank je wel, Anne Katrin. Leerzaam, leuk en enthousiasmerend. Veel succes en geluk! Ik kijk uit naar je volgende video’s.
Wuau!! 5 hours. That's heavy. Thanks.
Thank you Thank YOU THANK YOU!!!
Holy crap, you kept at it for 5 hours? You're a saint for sharing that much of your time with the community. I had step out 3 times and I kept coming back and was blown away you were still at it.
Wow 5hours!! Thanks for being so generous with your time.
Thanks for your time.
(and for the timestamps)
:0)
Omg Anne I just wrote a joke question because I couldn't think of a good "real" one... and you still took it seriously and used it as a launchpad for some wonderful insights. You are too generous, thank you! So bummed I wasn't able to join live but I'm enjoying catching up on all this.
Your make up looks great!
At 2:47:36 "I'm gonna go like another half hour or so, but then I really have to have lunch & go back to work" Then proceeds to answer questions for another two hours plus.
Q&A Queen.
I've been watching your videos over the past year or so and please don't lose your very honest and genuine personality as your life moves forward. It's nice to have someone like you as an occasional friend to hang with. I agree with the other comments here, in a world of attention mongers and overly self-absorbed boors, you are a refreshing modulation (see what I did there, modulation, ya know, music scores.......)
Great session, I hope your voice is OK, I'd be croaking after talking for 5 hours! and no comfort break, even my hound dragged me out twice, bravo, and much respect.❤
"It doesn't matter what I think" You are such a cool person and we need more people like you. In a world with oversaturated opinions, it is such a breath of fresh air to hear this.
@1:26:47 - who? I tried searching RUclips and Google with several different phonetic spellings of what sounds to me like “John K Excel” or “John Cake-sell” but nothing came up.
Junkie XL i believe
Cheers for answering my question I appreciate it.
This is marvelous and as always, you are
fun to watch. Brilliant!
I make it a point to put the names of
those who provide the tutorials that
inspire me to compose in the credits
of my RUclips videos. It seems to
me this is fair if not adequate
compensation for your generosity. So
you are listed in my recent video.
I know you will be successful in
your transition to new genre and
styles. Your outlook is completely
professional and your composition
skills are A-list. You have worked
very hard for your career and it
shows in every note and video.
May fortune always favor you.
len
My asked question for Anne: "How do you develop a consistent discipline to compose on a daily basis?" 4:29:54
❤
Holy crap... did you really just sit there for 5 hours straight? I'll have to watch this in chunks. Cheers!
hahahaahha me too.
In the end, the question remains whether you have access to German beer at your place. If not, which certainly has to be terrible, let me know :-) . Thanks for this really interesting format.
😀
5 hours is impressive! 😮
Epic 😮👋
A five hour Q&A...? Oh, go on then.
Clean yes now
sounds like alan's psychadelic breakfast
Quadruple
Wow brave