Tension Return..Help make it a Forward

[cosmicdolphin]

Hi All

I had a return today from this electronic listing and I wanted to get some feedback as to what changes you would make to turn it into a forwardable piece. What would you change and where? There are a bunch of similar opportunities if I can nail it and resubmit.

https://soundcloud.com/cosmicdolphin/re ... ed/s-Mi7aD

Screener feedback :-

" this starts off well. You do a nice job of creating tension but then the cue becomes very repetitive. Adding more element to help build the cue would have worked better for this listing. To quote them "Build your Cue around a central theme that leaves the audience on the edge of their seat, while adding and subtracting layers of instrumentation to create dynamics, add forward momentum, and keep your Cue from sounding too repetitive".

TENSION-Based ELECTRONIC UNDERSCORE CUES are needed by a Production Music Library/Entertainment Production Company that’s just recently started running listings with TAXI, so there’s a good chance you don’t have anything in their catalog yet. This is a great opportunity to begin a relationship with them. They’re searching for Down-to-Mid-Tempo Underscore Cues that you’d hear on shows/films like Mr. Robot, The Social Network, Gone Girl, etc., etc., etc. Please listen to the following references to get in the stylistic wheelhouse of what they’re looking for: “Mr. Robot” (15:00-22:00) https://www.youtube.com/watch?v=B0ptVVjOGZY “Trent Reznor and Atticus Ross The Social Network” (14:30-18:50) https://www.youtube.com/watch?v=yydZbVoCbn0 “Gone Girl” (19:00-22:30) https://www.youtube.com/watch?v=3WZtrkkcH9M Please give them Underscore cues that use current sounding electronic elements to convey a tense and suspenseful mood. Your Cues can be minimal and sparse, or employ a more driving, tense feel, using synth arpeggios and percussion to move it forward. While your Cues should be mostly electronic, they’re open to arrangements that include some orchestral elements, if used tastefully. Build your Cue around a central theme that leaves the audience on the edge of their seat, while adding and subtracting layers of instrumentation to create dynamics, add forward momentum, and keep your Cue from sounding too repetitive. As always, please avoid anything overly frenetic that could be a distraction from dialog. All submissions should be at least 2 minutes long with easy edit points and Buttoned/Stinger endings. Do NOT copy or rip off the referenced artist 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 company offers an EXCLUSIVE, 50/50 deal. You’ll get 100% of your Writer’s share, and the Publisher will keep 100% of the Publisher’s share. You must own or control 100% of your Master and Copyright. Do not copy or rip off the referenced soundtracks or films in any way, shape, or form. Use them only as a general guide for tempo, texture, tone, and vibe. All Instrumentals will be screened on a Yes/No basis. No full critiques. Please submit one to three Instrumentals online or per CD no later than Sunday, March 27th, 2016 by 11:59am (PT). TAXI #U160327EU

Thanks

Mark

[MattCurious]

Hey Mark

The link doesn't seem to work. Have you got the track set to Private? If so, you need to click the "share" button on the track, then copy-paste the "secret link" from the dialogue box that pops up (instead of the address bar in your browser).

Cheers
Matt

[cosmicdolphin]

Hey Mark

The link doesn't seem to work. Have you got the track set to Private? If so, you need to click the "share" button on the track, then copy-paste the "secret link" from the dialogue box that pops up (instead of the address bar in your browser).

Cheers
Matt

Try it now..my bad

[MattCurious]

Thanks, Mark.

I tend to write notes as I'm listening so please take any brevity as me keeping up with the track rather than being harsh:

I would make the piano a little softer - the brightness has the potential to cut through into dialogue, as does that fizzing hit around 0:32 and the hard kick.

By 1:12 I'm starting to feel what the screener refers to - although there's a nicely uncomfortable pad that hits around 1:27, the electronic arpeggio you have driving most of the rhythm is still there and is making the track feel samey.

The challenge with pulses / arpeggios / ostinatos in this kind of piece is that once they're in there, it's difficult to drop them out without it feeling like the piece loses energy or momentum. But done strategically, it can work to enhance the tension - you start to play with this around 2:12 but then it comes straight back in - it's a bit relentless.

I've started to have more success with tension cues since I've started to think of them as having three distinct parts. The first part builds tension and then the second gives some release, followed by a build back into a more hair-raising third section - but the dynamic range can't be huge (not trailer-like) because this is underscore.

For this, I would have that initial section but then drop it down around 30 seconds (probably no later than 40) into something that starts like the break you have at 2:12. When it comes back in, I would consider having a different arpeggio that is rhythmically consistent but sonically different, to freshen things up a bit without being too much of a change in direction.

Not intended as a plug, but this one was forwarded on the same listing, and has the drop / break and alternate rhythm I'm referring to: https://soundcloud.com/matt_curious/in-the-cloud

Hope that's useful!
Matt

[cosmicdolphin]

Thanks, Mark.
Hope that's useful!
Matt

Matt that's brilliant feedback thank you just the kind of advice I was looking for. I'm not in the studio right now so I will have a listen to yours and tweak this in the next day and post a new version.

Mark

[mrdtman]

Hi Mark,

I like the track and think it's about there. Here are my suggestions.

About 1:19 make a bigger buildup to give it more drive. Also I like the piano melody you use but it disappears from the piece. I would bring that back as it seems to be a central theme.

I also got a forward for this. You can check it out if you'd like: https://soundcloud.com/dtman-2/underscore-tension-1v2 - its not the final mix but its what I posted for some critique here on Peer-to Peer. It is on my page and its titled 'I'm Here...Can't See Me.

Good Luck

DT

[Paulie]

After listening to the two a la link that works, I think you were right on target unit you 0:33 when you added the drums and made this more of a groove-oriented cue than the a las. I think if you took the snare drum rhythm out that hits on "one, and one..." you would be much closer. Then you could play with the volume of the repeated synth notes to add some changes throughout.

One of the most useful things I heard at the rally last year was from a screener session, I wish I could remember her name to give her credit. She said something along the lines of "don't try to copy one of the a las, don't look for specifics in one. Listen to all of the a las and figure out what they have in common. Then try to replicate those characteristics."

When I listen to the two working a la links, I hear only a couple of things going on at any given time. Reznor is a little busier, but to me it is his combination of layers that makes it busier sonically. Reznor has a pulsing synth like you have, but he also inserts changes via dissonance, space, changing patches, etc. Neither a la really maintains a rock/drum hybrid feel like your track does.

I've been the recipient of the "lacking a theme" comment. It's hard sometimes, especially when you don't hear an obvious theme in any of the a las. Yours is a solid track, I think you missed the mark with the mood they were looking for.

[MattCurious]

She said something along the lines of "don't try to copy one of the a las, don't look for specifics in one. Listen to all of the a las and figure out what they have in common. Then try to replicate those characteristics.

+1

[cosmicdolphin]

Guys

Thank you for all the advice. I have had a go at editing the cue with your advice in mind..if you can all let me know what you think now..there is a listing closing tomorrow so ideally I would like to submit the new version to #Y160419TC.

Any thoughts appreciated..please note it's unmastered so may be a little low in overall level

https://soundcloud.com/cosmicdolphin/re ... 2-test-mix

Mark

[cosmicdolphin]

Hi Guys

Just to let you know the edited version of this track was Forwarded today !

Peer to Peer really works, thank you everyone ...this is my first forward for a Tension Underscore

Listing was this one;-

Y160419TC

TENSION-BASED, HYBRID UNDERSCORE INSTRUMENTAL CUES are needed by a Music Library with a very long list of great TV, Film, and Commercial placements. They're looking for suspenseful, Down-to-Mid-Tempo Underscore Instrumental Cues that you'd expect to hear in TV shows or films like Arrow, District 9, Taken 2, etc., etc., etc. Please listen to the following references to get in the general stylistic wheelhouse of what they need: "Searching Monastery/Merlyn Is Back" (Arrow) by Blake Neely: https://www.youtube.com/watch?v=D-_zujkJifo "Harvesting Material" (District 9) by Clinton Shorter: https://www.youtube.com/watch?v=LRe7G_vaVLs "Back to Paris" (Taken 2) by Nathaniel Mechaly: https://www.youtube.com/watch?v=YxBUGiWYNH0 Please give them forward moving Underscore Cues that use fresh, current-sounding electronic elements, coupled with authentic sounding orchestral samples that create a tense, uneasy, suspenseful vibe. Build your Cue around a central melodic theme that delivers spine-tingling suspense, while adding and subtracting layers of instrumentation to create dynamics and forward momentum as the Cue progresses. As always, please avoid submitting anything that's overly frenetic or dated sounding for this pitch. Your submissions should be at least 2 minutes long, with easy edit points and Buttoned/Stinger endings. Do NOT copy or rip off the referenced composers or music 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 company offers an EXCLUSIVE deal. You'll split all upfront sync fees 50/50. They'll get 100% of the Publisher's share, and you'll get 100% of the Writer's share. You must own or control your Master and Composition rights. Since this is an Exclusive deal, please be sure the material you submit for this pitch is NOT already signed with any other Libraries or Catalogs. Please submit one to three Underscore Cues online or per CD. All submissions will be screened on a Yes/No basis - No full critiques. Submissions must be received no later than 11:59PM (PST), on Tuesday, April 26th, 2016. TAXI #Y160419TC