6/6 Dispatch Forwards

[bobadohshe]

I'm diggin it. Great stuff man.

[garrettmiller]

Wow! This is so pro. Very detailed. I like "lily pads". Great job.Garrett

[fusilierb]

Aug 4, 2009, 11:56pm, markjsmith wrote:I saw that THUNDER got forwarded on another listing, that one is gonna get you a lot of work!!!Thanks Mark,TThunder has gone a few places for me so far. I still think it needs refining, but it's only the second time I've done an orchestral piece without score paper in front of me. I kind of improvised all the lines and just built it up track after track.I'm a guitar player and my piano pounding is finally getting decent enough to "perform" with. It definitely gives the music a pulse that I can't get when Sibelius is spitting out the performances for me.Thanks!B

[fusilierb]

Aug 5, 2009, 6:21am, kavode wrote:Dude!6 of 6!You are the MAN!!!These are great tracks. I've thought about getting Dispatch, but I think full critiques are important for me right now.Good Luck!I agree with you about the critiques. I miss them. I don't think I've submitted for a listing that comes with critiques in easily over seven months. Just yes, no, thank you , no thank you. As far as I'm concerned, for the money we're paying, that sucks! Because the critiques have always been incredibly helpful to me. I've actually submitted pieces that I knew had NO chance of being forwarded, cause I wanted to here a the critique from the horses mouth. I know you can get a custom critique, but I'd rather at least try to kill two birds with one stone sometimes.Now I just post the one's I'm not sure about here to the forums. Turns out, the critiques are just as good, if not better, and their free!B

[fusilierb]

Thanks Orest!Waiting to hear from these forwards is like watching paint dry. Strange, I actually don't really even expect to hear from my forwards anymore. Like I've forgotten about all but the most recent. If they contacted me, I'm not even sure I'd know which pieces they were talking about. Seems like I'm a drunk gambler just putting money in the machines just to watch the pretty lights go off. They say it takes time though.B

[fusilierb]

Thanks bobadohshe. I'm glad you're digging them.B

[fusilierb]

Aug 6, 2009, 9:37pm, garrettmiller wrote:Wow! This is so pro. Very detailed. I like "lily pads". Great job.GarrettThanks Garret,You're very cute with those headphones on!B

[crs7string]

Aug 6, 2009, 10:10pm, fusilierb wrote:Thanks Orest!Waiting to hear from these forwards is like watching paint dry. Strange, I actually don't really even expect to hear from my forwards anymore. Like I've forgotten about all but the most recent. If they contacted me, I'm not even sure I'd know which pieces they were talking about. Seems like I'm a drunk gambler just putting money in the machines just to watch the pretty lights go off. They say it takes time though.BBryan,If part of this journey is a numbers game, it takes time to get to the critical mass of forwards to have the numbers work.To have a lot of forwards, of course, requires a lot of submissions.A lot of submissions requires a thick skin to absorb the returns (all part of the numbers game)I don't know this for sure, but I would suspect the most successful people in the production music library game are not only the ones with the most forwards, but also the ones with the most returns.In other words, one way to measure success is to count up the number of times one has failed AND kept going in spite of it.I have always viewed a forward as a "favorable introduction"It doesn't matter to me if it takes return after return to finally get the introduction. The goal, to me, is the relationship.The profit is in the relationship, not the forward or the deal.Be patient. You do good work. Time (and forwards and returns) will take care of the rest.Chuck

[fusilierb]

Aug 7, 2009, 4:05am, crs7string wrote:Aug 6, 2009, 10:10pm, fusilierb wrote:Thanks Orest!Waiting to hear from these forwards is like watching paint dry. Strange, I actually don't really even expect to hear from my forwards anymore. Like I've forgotten about all but the most recent. If they contacted me, I'm not even sure I'd know which pieces they were talking about. Seems like I'm a drunk gambler just putting money in the machines just to watch the pretty lights go off. They say it takes time though.BThanks Chuck!I really appreciated that.BBryan,If part of this journey is a numbers game, it takes time to get to the critical mass of forwards to have the numbers work.To have a lot of forwards, of course, requires a lot of submissions.A lot of submissions requires a thick skin to absorb the returns (all part of the numbers game)I don't know this for sure, but I would suspect the most successful people in the production music library game are not only the ones with the most forwards, but also the ones with the most returns.In other words, one way to measure success is to count up the number of times one has failed AND kept going in spite of it.I have always viewed a forward as a "favorable introduction"It doesn't matter to me if it takes return after return to finally get the introduction. The goal, to me, is the relationship.The profit is in the relationship, not the forward or the deal.Be patient. You do good work. Time (and forwards and returns) will take care of the rest.Chuck

[crystallions]

Wow! This is awesome! Congratulations!~ Lydia