Don’t Kick the Can Down the Road
Things I’ve Learned as a Composer
One of the biggest lessons I’ve learned over the years — and one I keep re-learning — is this:
Don’t kick the can down the road.
In composition, “kicking the can” usually looks like this:
You sketch an idea, it’s okay, but not solid… so you move on anyway. You add another layer. Then another. Before you know it, you’re stacking ideas on top of something that was never really finished to begin with.
And now you’re not composing — you’re managing problems.
Lock the Layer Before You Add the Next One
When I’m writing, I try to fully commit to each layer before moving on. That doesn’t mean obsessing endlessly — but it does mean making sure the idea is working musically, emotionally, and orchestrationally.
If the harmony isn’t right, adding a cool counter-line won’t fix it.
If the rhythm feels vague, more percussion won’t save it.
If the melody doesn’t say something, doubling it in octaves won’t help.
Every weak decision compounds as you add layers. Strong decisions support the next idea instead of fighting it.
Creativity thrives best when it works with restraint, not against it.
Workflow Is Creative Fuel (Not a Buzzkill)
A solid workflow isn’t about killing inspiration — it’s about protecting it.
When you deal with each idea thoroughly, your session stays lighter, clearer, and easier to manage. You’re not constantly backtracking, second-guessing, or fixing issues ten tracks later that started on track one.
This is especially true when you’re working under deadlines — which, let’s be honest, most of us are.
Good workflow lets inspiration flow smoothly instead of getting tangled.
MIDI vs Audio: Have a Reason
I get asked all the time: “When should I convert MIDI to audio?”
My answer is simple: only when you have a clear reason.
If you’re constantly bouncing to audio “just in case,” you’re adding friction to your process. Every revision becomes more work. Every tweak becomes a decision about versions, prints, and backups.
I personally prefer staying in MIDI as long as possible — especially during the composing phase. MIDI gives you flexibility. Audio locks things down. Lock things down when it helps you, not because you feel like you’re supposed to.
If converting to audio doesn’t solve a specific problem, don’t do it yet.
Think Like an Orchestrator First, Not a Mixer
This one’s big.
When I’m composing, I’m not thinking like a mixer — I’m thinking like an orchestrator.
Instead of asking:
“Is this EQ’d right?”
“Do I need a different mic position?”
“Should I carve more lows?”
I’m asking:
“Is this too dense?”
“Are there too many ideas competing?”
“Is this living in the right register?”
Most muddiness isn’t an EQ problem — it’s a writing problem, usually in the mid-range. If everything lives there, no plugin will magically fix it.
Trust good sample libraries. Trust their core mixes. Adjust only when something truly isn’t working.
Professional mixers often use EQ to add perceived volume and clarity, not to rescue bad orchestration. As composers, our job is to make their lives easier — not harder.
Limit the Number of Ideas
Another rule I live by: 3–4 musical elements max at a time.
More than that, and the listener stops knowing what to focus on. Complexity doesn’t equal impact. Clarity does.
Great cues often feel full not because they’re busy, but because each element has space, purpose, and intention.
Less really is more.
Study the Craft (Seriously)
If you want to grow faster, study the people who’ve already done it well.
A few resources I regularly recommend:
On the Track by Fred Karlin — essential reading for media composers
Techniques of Orchestration and other Alexander Publishing resources
Score study. Actual, focused score study. Get a John Williams score and go to town!
And don’t just listen — analyze.
Ask why something works.
I also encourage composers to study contemporary voices. Someone like Daniel Pemberton is a great example of how deep musical knowledge and bold experimentation can coexist beautifully.
Finish Strong, Not Fast
The temptation to move on is always there — new ideas are exciting. But unfinished ideas cost you more time in the long run.
So don’t kick the can down the road.
Deal with the idea in front of you. Make it solid. Commit to it.
Then move forward with confidence instead of cleanup.
That’s how your workflow gets smoother.
That’s how your music gets stronger.
And that’s how you actually enjoy the process again.
— Kevin Manthei
Composer & Founder of Triumph Audio
