Consider composing in batches of 10

[Onaginoffegin]

When I say batches of 10, I mean within the same genre.
For instance, 10 drone tension cues, 10 pulse tension cues, 10 epic trailer cues, etc.
Here are a couple of reasons:

Immediately after signing some cues with a music library, the owner emailed and asked, “How soon can you get me 10 of these?”
If you ever get asked that question, you want to be the person who says, “Today.”
You don’t want to be the person who says, “Give me about a week.”
Because you can rest assured that someone else is going to say, “Today.”
And when a library owner — or anyone looking for music — uses the word “soon,” it’s a pretty good bet they need the music right away.

Another library owner told me he prefers to get cues in batches of 10 because it’s easier for him to register them all at once with my PRO, as opposed to registering them one at a time.

Which brings up another point — I stopped registering my music with my PRO when I discovered that almost all the libraries I’m signed with prefer to do it themselves.
But I still ask the question, up front, “Do you want to register my cues, or would you prefer I do it.”

Another issue that comes up is libraries like to retitle cues. It may be that they have a better title, or it may be that they already have a cue with the same name as yours.
If you’ve already registered your cue under its original name, and the library registers it under the new name, you now have the same cue registered under two names.
I know opinions are mixed on this topic, and I’m not advising anyone to stop registering their music if that’s their preference.
I’m just explaining why I stopped registering my music.

One library owner I know likes to put out YouTube videos expressing his opinions and sharing advice. In one such video, he said he’d sent out requests for hip hop. He received one or two from a number of people, but one person sent him 10.
“Do you think I’d rather deal with 10 separate people who each submitted one track, or one person who submitted 10 tracks,” he said.

Composing in batches of 10 is a good way to ensure that you have the material when someone asks for it.


Henry

[funsongs]

So - in my case - that would mean... have a routine... not just one joke.
Way to 'pay-it-forward' Henry... er, uh... "Professor Cue".

[Onaginoffegin]

Yeah a routine, Peter.
Gotta keep the audience happy...


Henry

[Fullertime]

Henry,

I think you are spot on man! This is the approach I am taking as well. The reality is that these libraries don't need 1 song, they need hundreds of songs!!! And they will work with the writers that can deliver them quickest.

I also know the guy you are referring to on Youtube. He's absolutely right!! They want to work with writers who can mass produce quality stuff.

From a creative standpoint, I think it is more efficient to work in genre groups. That way you are mentally in the groove and sonic field of the projects and you are also becoming an expert on those specific patches, VI's etc as you work... Last time I did this, I thought I would run out of ideas, but I found that I actually got progressively better as I produced. The last tracks I did turned out being substantially stronger than the 2nd & 3rd tracks so I went back and tweaked them.

Keep us posted on how it goes!!! And if you see any substantial success patterns!

Peace!
Fuller

[Onaginoffegin]

Great points, Fuller.
Thanks, and good luck to you as well.


Henry

[EvanLainhart]

That's the first time I've seen the term Pulse Tension Cue. Could you tell me what that is?
Evan

[Onaginoffegin]

Sure Evan. Here are two different examples.
In "State," there's a straightforward high pulse throughout. At about one minute I introduce a bass pulse that gets faster as the cue progresses to the end.
In "Wraith," there's a bass heartbeat pulse throughout.
Hope that helps.

(edit): Evan, you might also check out the Forwards section of the forums. I just posted a futuristic electronic forward in which the screener talks about pulses.


Henry

https://soundcloud.com/henry-winckel/state-of-anxiety

https://soundcloud.com/henry-winckel/wraith

[artturner]

Interesting advice, although I don't share the general appreciation for that particular YouTube star.

If you don't mind answering, do you do a group of 10 in one genre and exclude work on anything else? And on average how long does it take to complete a group of 10? (I know it varies depending on genre.)

For example, are you saying a possible plan is to wake up tomorrow and say "I'm going to start working on trailers today and I'm not doing anything else until I've done 10." ?

Thanks

[Onaginoffegin]

Hey Art,

I try to complete the batch of ten before going on to something else, but it rarely turns out that way.
A TAXI listing will pop up in a different genre, and I'll start working on that.
Or a client will ask me to do a piano track for them, and I'll start on that.

Last week, for instance, I was working on #3 of ten epic action trailers, and I got two piano track requests from singer-songwriters, and two electronic music requests from a guy who makes motorcycle videos for Youtube.
I always try to get client requests done right away.

And you're right, the time it takes to complete a group of 10 depends on the genre.
When a listing came out recently for lullabies, I was cranking out one or two a day.
Tension cues, on average, take me about two days.
I'm presently really slow in the action trailer genre — it can take me four or five days to complete one — and I've watched guys, who know what they're doing, crank them out in 45 minutes.
But, like anything else, I'm hoping the more I do them, the quicker I'll get at it.


Henry

[artturner]

Thank Henry,

I think my biggest obstacle right now is not having enough music/tracks in my personal catalog. I need to produce a lot more finished music.

I feel like it must be because my workflow is wrong, or that I'm too slow. But so far, I don't seem to be slower than anyone I ask. So I guess I must be sleeping too much.