How much content development for drones and underscores?

[Paulie]

I've had a mixed bag of success and failure with drones and tension underscores. I think I understand what the screeners want re: melodic development (whether or not the a las have any melodies). But I got a return today for one because it "was a little too slow to develop." The first section is mellow, but compositionally I'm thinking about the overall picture and how much music gets used versus how much we are asked to provide. Often cues are less than a minute long during show scenes, wouldn't giving the music editor a wide bar of options in a 3 minute cue be a good thing? This cue starts quite gently, then gives a consistent rise of energy, with a reprieve at the end. Edit points as well. If there are 3, 4 or 5 sections in a 3-minute cue, the editors have choices... its frustrating to see a cue returned because the screener thinks the intro was too slow to develop. The rest was "cool" according to the screener... why not let the customer decide?

Not being negative, just trying to learn and figure out how best to get content to the customers.

https://soundcloud.com/paulcroteau/stand-down

TENSION-BASED ELECTRONIC/ORCHESTRAL INSTRUMENTAL CUES are needed by a Non-Exclusive Music Library with a great list of placements in Reality TV and Trailers. They’re searching for Instrumental Cues in All Tempos that you’d hear on shows like Gotham, Agents of Shield, X-Men, etc., etc., etc. Please listen to the following references to get in the general stylistic wheelhouse of what they’re looking for: “Gotham Trailer” (0:00-1:13): https://www.youtube.com/watch?v=0d1zpt6k5OI “Marvel’s Agents of Shield” (0:00-0:33): https://www.youtube.com/watch?v=GlQu03jNhk0 “Kia & Xmen Secret of Right Arm”: https://www.youtube.com/watch?v=7RVWpZLsnII Please give them well-crafted Tension Cues that have both Electronic and Orchestral elements. Your Cue should have current Electro sounds with a dark overall tone, while weaving in Orchestral strings and percussion to create a contemporary cinematic sound. Quickly introduce your main melodic theme that instantly alerts the audience of the dark and foreboding path the characters are about to travel down. Layer instruments in and out to create space, dynamics, and interest as your Cue progresses. Please avoid anything that sounds stiff or MIDI-driven, or has dated sounding instrument samples. Imagine the type of music played in the dead of night, as the moonlight illuminates the silhouette of a villain that plans to wreck havoc on the city. That’s what they want to hear! All submissions should be at least 2 minutes long with easy edit points and a crescendo that leads to a buttoned/stinger ending. Do NOT copy or rip off the referenced artists or songs in any way, shape, or form. Use them only as a guide for tempo, texture, tone, and vibe. Broadcast Quality is needed (Great sounding home recordings are fine). This Library offers a NON-EXCLUSIVE, 50/50 Deal. You’ll get 50% of any applicable sync fees and 100% of the Writer’s share. The Publisher will get 50% of applicable sync fees and 100% of the Publisher’s Share on the version they pitch. You’ll keep 100% of the original copyright. You must own or control 100% the Master and Copyright to submit to this pitch. Please submit one to three Instrumental Cues online or per CD. All submissions will be screened on a yes/no basis by TAXI and must be received no later than 11:59PM (PST), on Tuesday, January 19th, 2016. TAXI #D160119HT

[andygabrys]

.... wouldn't giving the music editor a wide bar of options in a 3 minute cue be a good thing? .....

basically NO. Or MAYBE. But it depends how distant the options are from what is the "core motif" of the piece.

Production music is basically once vibe, one feeling, one tempo, one key, one instrumentation, etc.

Yes it has to develop enough to keep it going under the picture and support the unfolding action, but if it changes a lot, the editor will cut it right there and throw in another piece, if they use it at all.

Obviously the screeners are looking for that as well. Makes it easier for the end user.

Also the listing asked for 2 minute + pieces. So 2:05 or 2:10 is honestly generous.

re: the refs - sounds like the first one was edited to fit the trailer. I doubt the actual piece was constructed with those bombastic low brass hits and then went into the mellow piano. at 0:16.

When I listen to your piece:

up to 1:30 is one cohesive motif. The first 0:30 does go a little more slowly than it could. You might have built to the action that happens at 0:54 more quickly, or in a different way. The cue could have started with piano only and built with the stings and choir bits over time instead of having piano + strings and choir soon after.

1:30 - 1:47 abandons that motif and changes the chord progression from i-bVI to i-iV

1:47 on returns to the initial chord progression

2:04 returns to the initial motif.

The ref pieces sound like trailer type form as in Nick's video below. I would consider your composition from that standpoint.

https://www.youtube.com/watch?v=GgT2oKurtk4

An opinion HTH.

[PeterD]

Ah Screeners ... A love/hate relationship, fo sho!


But seriously, I often struggle with their comments, wondering if the client would even be thinking the same thing.

Breathe ....

[Paulie]

Great feedback Andy! Thanks.