AMBIENT DRONE INSTRUMENTALS - 3 Forwards

[levelone]

Hello All,

3 of my tracks were forwarded for the Ambient Drone Instrumental listing.

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Tracks:

https://soundcloud.com/level-one-music/regret

https://soundcloud.com/level-one-music/tine-of-sorrow

https://soundcloud.com/level-one-music/the-abyss

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Listing:

Lots of AMBIENT DRONE INSTRUMENTALS are needed for “pandemic projects” by a successful Music Library with tons of terrific placements.
This company is proactively stocking up for the onslaught of TV shows, feature films, documentaries, and cable news specials being written now and going into production when the “all clear” (or mostly clear) sounds. As you might imagine, there will be a boatload of these projects coming up, and that means this company will need a hefty stash of music to satisfy the demand.
Please listen to the following references to get in the general stylistic ballpark of what they’re looking for:
Ambient Horror Music - Red Space (Starting From 0:00 - 2:30)
"Thoughts of Ancient Gods" by Alphaxone · Protou · Onasander
"Memory Destroyer" by Christophe Beck
"Electric Grounds" by ProtoU 
If you really, really want to be at the top of your game, watch all these movies and TV shows, and take notes when you hear music! It will help pass the time while you’re cooped up, and you’ll be a pandemic-music-making genius when you’re done! Seriously, do it now, and tell your family to leave you alone because you’re “working,” lol!
Please submit well-crafted ambient Drone Instrumentals that would work well in scenes where the plot is developing, the virus is being revealed, and the scientists conclude that the world is in for quite a ride! You could try a cinematic underscore, pad-driven approach that’s nearly atonal and presents more of an ambient texture rather than any significant melodic movement, or you might try experimenting with a very subtle (soft, muted, no top end) percussive, mildly arpeggiated approach.
You’d be smart to stick to a singular motif throughout. Your goal is not to score the film or show. They’ve already got somebody to do that. Your job is to create music that editors can fly into a scene, and they work well because they don’t go through the changes that a score likely would!
Your submissions can have some cinematic sound design elements, but don’t go overboard. “Found sounds” are always fun to experiment with. Try sampling and affecting things like the rim of a wine glass, your lawnmower, a toilet flush… well, you get the idea. Less is more! Keep it simple and ambient. Remember, your music isn’t the star of the scene, but the scene would suck without it! If viewers notice your music rather than feel it, you might have gone too far! Repeat after me: Simple and ambient, simple and ambient, simple and ambient…
Submissions should be about 90 Seconds long, give or take. Non-faded endings will work best. Do NOT copy the referenced material in any way, shape or form. Use them only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed.
IMPORTANT NOTE: This company is NOT interested in composers that turn in 1 or 2 tracks every couple of months. They ONLY want composers who have experience and are comfortable writing full albums. They also ONLY want new music that has never been signed or distributed by anyone else.
This company offers an EXCLUSIVE deal. You’ll split any 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 100% of your Master and Copyright. Since this is an  EXCLUSIVE deal, please be sure the material you submit for this pitch is NOT signed with any other Libraries or Catalogs. Please submit as many Instrumentals as you’d like, online or per CD.  All submissions will be screened and critiqued by TAXI. Submissions must be received no later than 11:59 PM (PDT) on Monday, May 25th, 2020.  TAXI # S200525CV

[superkons]

Great drones, Jason!

[levelone]

Thanks!