Today we’d like to introduce you to Caleb J. Both.
Hi Caleb, so excited to have you on the platform. So, before we get into questions about your work life, maybe you can bring our readers up to speed on your story and how you got to where you are today.
I’ve been interested in film and music for as long as I can remember. In fact, my parents have photographic evidence and stories of my musical inclinations from even farther back than my memory goes. My formal musical training didn’t start until I was 11 years old, but I remember somehow trying to write tunes on scratch paper even before that. I was also involved in music programs like Kindermusik and was exposed to classical musical very intentionally in school from an early age.
Growing up, I never realized how much more attention I gave to certain details in movies than the average person. I would listen to the musical score throughout the film, noticing subtle uses of themes here and there and remembering the names of composers I liked. I remember being struck most significantly by the music of John Williams (namely Star Wars and Indiana Jones, of course) and classic Disney cartoons like those with music from Oliver Wallace and Frank Churchill.
I would also think about narrative structure (as much as my young brain could), acting, visual effects, and try to break down how certain gimmicks were accomplished (again, with the limited knowledge an elementary to middle school kid could have). I remember finding books in libraries and bookstores about filmmaking, from behind-the-scenes pictures of Star Wars sets, to books on forced perspective and framing. I made home movies with my family and friends, choreographed fights, made stop-motion animation with Legos, and taught myself how to use green screens and add VFX like lasers and explosions. In Middle School, I started acting in theater and focused on writing my own novels (which I envisioned as screenplays) in addition to my musical studies. I also took computer animation classes from a former Pixar animator. But throughout all of these hobbies I was pursuing, I was continuing my classical piano lessons and writing bits and pieces of music with paper and pencil. I was extremely blessed to have supportive parents who helped me pursue all my diverse interests, many of which I continued through high school. When it came time to apply for colleges, I was overwhelmed by all the possibilities and options I wanted to pursue further. At the time, animation, acting, writing, and VFX were all things I heavily considered. But at the end of the day, when my energy was spent, I found myself back at the piano, improvising, composing, and playing old repertoire. It was the only way I knew how to work through the thoughts and emotions I couldn’t put words to.
I quickly realized that creating music was what I felt called to do. I wanted to tell stories and inspire others the way I had been inspired growing up. So, I started teaching myself how to create orchestral mockups in GarageBand and then Logic. I took composition lessons in addition to my piano lessons in high school, I started teaching myself orchestration, and I auditioned at music schools to attend in college. This led me to graduate with a degree in Music Composition and a minor in business law (which focused on music business and entertainment law), and a Masters in Screen Scoring from NYU. I’ve scored several short films and a web series, and I’ve had my music performed and recorded all over the world!
Can you talk to us a bit about the challenges and lessons you’ve learned along the way? Looking back, would you say it’s been easy or smooth in retrospect?
Sometimes, it’s easy to look back at your journey and only remember the good parts. Sometimes, it’s the terrible moments that stick with you. Either way, no journey to success comes without great challenges. As a creative artist, one challenge I face constantly is suffering from imposter syndrome, wondering, “Am I actually any good at this?” It’s something I think we all struggle with. I find assurance in the feedback I hear from the people my music has touched, as well as the fact that I’ve made it as far as I have. There’s also always roadblocks during creative projects that teach you something about yourself, and by overcoming them, you get stronger and better at what you do. Sometimes, it’s having to learn a new piece of software or a new technique required for a specific project; sometimes, it’s a creative block or mental hurdle. Whatever the challenge, it’s important to remember that these challenges build your skill set and shape you into a better artist.
Can you tell our readers more about what you do and what you think sets you apart from others?
I’m a film composer and orchestrator, which means I write original, bespoke music for media (including films, TV shows, and even podcasts). I think what sets my music apart is my focus on memorable, lyrical melodies and a sense of the Golden Age of Hollywood blended with contemporary and electronic techniques. As a young artist, I wear several different hats in the music field that tie into being a composer. This includes producing, recording, mixing, music editing, and orchestrating. As an orchestrator, I take the music that I write (or another composer writes) and prepare it in a way that real musicians can read and play well, such that it sounds full and professional when recorded by a live orchestra or ensemble. So much music is created “in the box” (with virtual instruments and electronics) that not everyone knows how to write for real people or instruments anymore, so it’s my job as an orchestrator to make sure the composer’s intention translates into the real world.
I also write concert music when I can!
Are there any important lessons you’ve learned that you can share with us?
There’s many to chose from, but one of the most important lessons you can learn as a composer or artist moving from the concert or pop stage to film is that your music is always second to the project. There’s a lot of creative freedom that comes with composing for the stage that you can’t find in film because the parameters of a project are set by at least one person outside of yourself. That person could have a very different view of what their project is than you do, and sometimes you have to sacrifice the music that you want to write or think is right for a scene just because the director wants something different. Ideally, you end up with a project with enough limitations to guide your inspiration but enough freedom to not stifle it. That being said, one fascinating freedom that film offers is that there are often multiple “right answers” or ways to go about writing music to a scene. If the first thing you try works, but you’re not sure if it’s perfect, you can try something else! Don’t let this fool you, though; there are “wrong answers” as well. Just because there are multiple types of music that CAN work with a scene doesn’t mean that ANY type of music will work. It’s my job as a film composer to be able to navigate these gray areas and translate musical terms to the director, all while writing music that (hopefully) elevates the film and that everyone enjoys. It can be a challenging puzzle to solve, but I love the whole process!
Contact Info:
- Website: https://www.calebjbothmusic.com
- Instagram: https://www.instagram.com/cbothmusic/
- Facebook: https://www.facebook.com/cbothmusic/
- Linkedin: https://www.linkedin.com/in/caleb-j-both-9a293b196/
- Youtube: https://www.youtube.com/channel/UCeXzAqq3Ot86LLWGe39rysg
- SoundCloud: https://open.spotify.com/artist/2uE3RbcemmJFULpLOY7wj0?si=7Jt7H2pAQVCRjZi78JZdgQ
- Other: https://www.imdb.com/name/nm12440503/
