Dark drone return

daveydad · Post by **daveydad** » Thu Sep 01, 2016 12:35 pm

Really thought I had this one.... isn't almost all drone still a drone? Sometimes I scratch my head at screeners' comments...

https://soundcloud.com/davidhollandsworth/blackout

Screener: Track's structure contains almost all drone and could use more of a singular motif that could possibly contain some percussion to really boost and make more recognizable the emotion you're trying to convey.

DARK DRONE SOUNDSCAPE INSTRUMENTAL CUES are needed by a Music Licensing Company with a list of great placements in Film and TV. Please submit subdued, “drone-y” Instrumental Cues that could be featured along with the works of Trent Reznor & Atticus Ross, Hans Zimmer and Charlie Clouser. Listen to the references below to get an idea of what they’re looking for: “Perihelion” by Trent Reznor & Atticus Ross: https://www.youtube.com/watch?v=npFeMDdODi0 “Imperfect Lock” by Hans Zimmer: https://www.youtube.com/watch?v=BJdQnRdVaU0 “Open Eyes” by Charlie Clouser: https://www.youtube.com/watch?v=4cz5qH96nfI Submit subtle and textural Instrumental Cues with very little, to no melodic movement. Give them droning soundscapes that deliver a moody and ominous feeling, as instrumentation weaves in and out, to create a seamless piece of compelling underscore. You should stick to a singular motif throughout the entire cue to keep your submission emotionally cohesive. Your submissions can have subtle, non-tonal elements illustrated in modern cinematic sound design, or even the addition of some percussion as heard in the references. Don’t go crazy! Be sure to keep your Cue fairly simple, which is ultimately what this pitch is asking for. All submissions should be at least 2 minutes long, with non-faded endings with a natural decay/ring out are recommended. Do NOT copy or rip off the referenced music in any way, shape, or form. Use them only as a guide for texture, tone, and vibe. Broadcast Quality is needed (Great sounding home recordings are fine). This Company offers an EXCLUSIVE agreement with a 50/50 split. The specific terms of this agreement will be determined directly between you and the Library. Because this is an Exclusive deal, please submit music for this pitch that is not already signed to any other Libraries or Publishers. You must own or control your Copyright and Master recording. All submissions will be screened on a Yes/No basis. No full critiques. Please submit 1-3 Cues online or per CD no later than 11:59pm (PDT), on Wednesday, August 24th, 2016. TAXI #D160824DS

mobster85 · Post by **mobster85** » Thu Sep 01, 2016 1:01 pm

I got a similar return talking about that it was a soundscape and that Word is actually used in the listing. Emotion is not a part of the listing at all. The screener got This all wrong on both of ours. I put it out in the Forum and everyone said i nailed it. Oh Well Thats how it goes. I hope i dont hear about motifs and emotion on this tibetan listing that Just came out.

Onaginoffegin · Post by **Onaginoffegin** » Fri Sep 02, 2016 4:03 pm

David and Bob — this was a pretty tough screener. I submitted three cues, and two were returned.

His comments on the returns were:
"Solid cue, but they’re looking for a little more subtlety overall for this one."
and
"Definitely eerie, but the drone could be darker hued with the listing criteria in mind."

I actually agreed with his comments on my returns. And this morning I received an email from the company that posted the listing, asking for nine more dark drone cues. I better get cranking.

Henry

tompatt · Post by **tompatt** » Sun Sep 04, 2016 10:20 am

Yes,... tough one!

comment on my return:
"Cue could have had more of a singular motif going through it to carry give the piece a more recognizable emotion, along with more dynamic range."

Name of my cue:
Underground Echo (on my Taxi Page).

Paulie · Post by **Paulie** » Sun Sep 04, 2016 11:30 pm

This phrase; "Build your Cue around a simple, central melodic theme" Is the bane of my existence.

So many times the A LA's do not have a theme, especially in the tension and drone section. The sentence above is boilerplate text that shows up in many listings. I sometimes wonder if the forwards I get are never followed up on because I have a melody or motif or theme in a cue when none of the examples did. IT's even worse when the A La comes with a specific time marking.

BUT...

The head screener gave me some great insight last month when I questioned a return (only the second time I've ever formally done that). Here's what he said:

Unless otherwise noted in the listing the reference tracks are an illustration of the listing; the listing does not describe the references. Typically the listing description is written first, and then reference tracks are chosen, with confirmation from the client, to help describe the listing in more detail. Consequently the client is not looking for music just like the references but, as is stated in the listing, the references are "a general guide for feel, texture, tone, and vibe." If any element of the reference track contradicts the listing details it should be disregarded - the reference tracks never trump the listing details.

That's pretty specific. Copying this quote and putting it on your desk somewhere might be helpful to some of us.

tompatt · Post by **tompatt** » Mon Sep 05, 2016 5:20 am

Paulie wrote:This phrase; "Build your Cue around a simple, central melodic theme" Is the bane of my existence.

So many times the A LA's do not have a theme, especially in the tension and drone section. The sentence above is boilerplate text that shows up in many listings. I sometimes wonder if the forwards I get are never followed up on because I have a melody or motif or theme in a cue when none of the examples did. IT's even worse when the A La comes with a specific time marking.

BUT...

The head screener gave me some great insight last month when I questioned a return (only the second time I've ever formally done that). Here's what he said:

Unless otherwise noted in the listing the reference tracks are an illustration of the listing; the listing does not describe the references. Typically the listing description is written first, and then reference tracks are chosen, with confirmation from the client, to help describe the listing in more detail. Consequently the client is not looking for music just like the references but, as is stated in the listing, the references are "a general guide for feel, texture, tone, and vibe." If any element of the reference track contradicts the listing details it should be disregarded - the reference tracks never trump the listing details.
That's pretty specific. Copying this quote and putting it on your desk somewhere might be helpful to some of us.

Oh, importend to know, Thank you Paulie

Onaginoffegin · Post by **Onaginoffegin** » Mon Sep 05, 2016 8:16 am

Thanks for that, Paul.

Henry

daveydad · Post by **daveydad** » Sat Sep 17, 2016 7:12 am

All is well, I ended up signing this with an exclusive library I belong to!

Dark drone return

Dark drone return

Re: Dark drone return

Re: Dark drone return

Re: Dark drone return

Re: Dark drone return

Re: Dark drone return

Re: Dark drone return

Re: Dark drone return

Who is online