Simon Lockyer on 25 Years as a Composer

Simon Lockyer studied at the Royal Academy of Music where he gained his music degree and two diplomas, having already been a cellist with the National Youth Orchestra of Great Britain.

Simon has over the last 25 years worked as a composer, producer, arranger and performer. He has been involved with the music of over 50 well-known television programmes including ‘Howards’ Way’, ‘EastEnders’ and ‘Animal Park’.

He has also composed music for several production libraries creating over 300 Tracks.
Most recently, he released his new album ‘From Above’.

​LBB> When you’re working on a new brief or project, what’s your typical starting point? How do you break it down and how do you like to generate your ideas or response?

Simon> When working on a new brief with a client, invariably the music isn’t the first thing to be discussed.

It’s more about the background, story and motivation of the project, identifying the driving forces and aspirations of the client's vision, and how this is to be communicated to the audience.

Once this is established, the focus then moves on to how the music can help to achieve this and to discuss the client’s thoughts as to the style or approach the music should take.
In contrast, working on a production music album often begins with a blank canvas, save for a title or a general overview.

This uncharted territory offers a thrilling creative freedom, where the only constraints are one's imagination. The initial absence of predefined limitations allows for experimentation and innovation.

I found with my latest ‘From Above’ album, not having the concerns with durations and editing to picture for the long versions gave me room to go where I wanted to with the music.

Having said that, once the music was taking form, I found it interesting to listen to it whilst watching some relevant stock (drone) footage to see if the music was having the effect I was wanting.

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LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity – what are your thoughts on this? Do you prefer to work solo or with a gang – and what are some of your most memorable professional collaborations?

Simon> Going back to when I first started creating music for TV, it often seemed to be a battle between sound and music, however I think with the advancement of technology it seems easier for them to blend together in a more satisfying and creative way nowadays.
I have spent many years collaborating with other composers but recently have been working alone more. Both situations have their advantages as collaborating helps me to see things from more than one angle and not to get obsessed with a certain direction which might or might not be working.

Ideally I think working with other composers but also being able to work on ideas alone and then bringing them back to the table is the best of both worlds.

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LBB> What’s the most satisfying part of your job and why?

Simon> I think it has to be when something is finished and I can finally hear it as others will and not keep thinking ‘oh I’ll just tweak this or that a little’.

Also when watching TV and hearing my music when not expecting it… it’s a nice little surprise but also knowing someone had found a piece of music of mine and liked it enough to include it in their project can be a great feeling.

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LBB> Who are your musical or audio heroes and why?

Simon> I have always been drawn to the music of the American film composer Thomas Newman.

Not only has he produced the score for some of my favourite films, but I have always been intrigued by the way he manages to create music which is not always in keeping with the film and not what you would expect, however it still works.

His innovative use of sounds and rhythms from around the world in films typically set within American or British contexts is a unique approach to the musical soundscape.

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LBB> And when it comes to your particular field, are there any particular ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?

Simon> Having worked for many years with Simon May, who has written many catchy TV themes, I still try to keep in mind how important it is, if working on a project which is melody-driven, to ensure the melodies are easily recognisable and memorable.

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LBB> When you’re working on something that isn’t directly sound design or music (let’s say going through client briefs or answering emails) – are you the sort of person who needs music and noise in the background or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?

Simon> I find that I need and appreciate silence. As we work in a music environment a lot of the time, it’s nice to not have it when needing to concentrate on other things.
I find if I have music I like playing in the background, I get distracted as I start listening to it, and if I have music I don’t like… well there’s just no point!

Other background noise and distractions I also struggle with, probably not helped by living in a busy household with children who thrive on noise!

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LBB> On a typical day, what does your ‘listening diet’ look like?

Simon> I must admit my listening diet follows no pattern really. I don’t particularly like listening to music ‘on the go’ so prefer the spoken word whether it be sport, news or comedy.

If I am going to listen to music I like it to be on my terms in the correct environment, which sadly I rarely have time for unless I am researching for a project or indeed working on one.

However when on holiday, chilling by the pool with my chosen music and a set of earphones… I am in my element!!

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LBB> Do you have a collection of music/sounds and what shape does it take (are you a vinyl nerd, do you have hard drives full of random bird sounds, are you a hyper-organised Spotify-er…)?

Simon> I am a bit of a hoarder so I have copies of just about everything I have written and recorded on CD, DAT, hard drive, cassette, both demos and final masters and every stage in between.

I have a collection of lots of my favourite artists and composers on record, and CD but often resort to Spotify as it’s quicker and easier if I want to find something to listen to.

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LBB> Let’s talk travel! It’s often cited as one of the most creatively inspiring things you can do – I’d love to know what the most exciting or inspiring experiences you’ve had are when it comes to sound and music on your travels?

Simon> I think the most memorable experience I have had was a trip to Havana a few years ago. I had always loved the feel and evocative flavour of Cuba’s music.
We went to see the iconic Buena Vista Social Club and I was knocked out with their performance. A lot of performers were quite elderly however once they were on stage and the music started they came to life… it almost looked like they had turned back 40 years.
It was like a scene from the 1980s film ‘Cocoon’! Their love for the music was so infectious as was all the Cuban music we heard whilst in Havana!

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LBB> As we age, our ears change physically and our tastes evolve too, and life changes mean we don’t get to engage in our passions with the same intensity as in our youth – how has your relationship with sound and music changed over the years?

Simon> Back in the ‘80s I used to get so excited about the new synthesisers available and the sounds we could produce on them.
As a youngster, I’d hear a synth sound on a new record and try to recreate it on the synths I had at home.

That excitement of a new sound is less now, but I still have an appreciation of wonderful sounds, although they are now a little more organic such as a beautifully recorded piano, or wonderful string section sound.