Contemplative Underscore Feedback Plz

[themarkalanproject]

Hi All once again,

Just looking for some feedback on this song I am planning to submit for the Contemplative Underscore listing S240304HY. I know I've been posting a lot on here lately, but the feedback is really helping me. Tremendously! I feel like I am getting a lot better at breaking down the referenced tracks and just a better work approach overall.

https://www.taxi.com/members/Er9Iix4ATp ... romiscuity

I feel maybe the bass is a bit much, that has me a bit concerned, but two of the referenced tracks had some very big bass moments as well.

Thank you.

Mark Alan

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CONTEMPLATIVE HYBRID UNDERSCORE INSTRUMENTAL CUES are needed by a very successful boutique Music Library that's distributed by Universal and has tons of credits in Big Films, Countless TV Shows, and Commercials!

This is a catalog you want to be in! Please listen to the following examples the Library's CEO gave us to get yourself in the ballpark of what they need:

Instrumental Examples


https://www.dropbox.com/scl/fo/35sc6p87 ... nn2f2&dl=0


Quoting the Company's CEO: "We're looking for intimate ambient underscores that gradually evolve as they progress. Your pieces should use organic sounds (such as felt pianos) on top of the ambient bed. and starting out on the 'smaller' side and evolving it into something bigger as it moves forward."

ADVICE DIRECTLY FROM the COMPANY's CEO: "Many composers throw in way too many ideas, and are not focused on ONE CENTRAL MOTIF: they try to keep things interesting by adding new harmonic lines and elements (melodies, even improvisations, etc) instead of focusing on the production and textures. What I'm looking for is basically: obvious production music (in form and structure), that sounds like commercial music (production style)." Put simply, keep it SIMPLE! We know that other Libraries like to receive music with complementary A and B sections, but this Library is NOT one of them – stick with ONE CENTRAL MOTIF per submission, please!

Please submit well-crafted Underscore Instrumental Cues with a contemplative and reflective tone! Your submissions should have one clear central motif that gradually builds to create a sense of forward motion and interest. Instrumentation that blends organic and electronic Hybrid elements (guitar, synth pads, keys, light percussion, etc.), and is in the general stylistic ballpark of the references will work best. Please be sure that any virtual instrumentation you use is high-quality and realistic sounding.

All submissions should be about 2 minutes long, give or take. Good edit points and non-faded, buttoned/stinger endings are required. Do NOT copy the references in any way, shape, or form. Use them only as a general guide for tempo, tone, texture, and overall vibe. Broadcast Quality is needed.

NOTE: This company has a strong preference for composers who understand music licensing companies and how typical music library deals are structured. If that's not you, they politely ask that you don't submit to this request.

This Music Library offers an EXCLUSIVE deal with a cool twist. You'll keep 50% of all gross income generated by your music, plus you'll get 100% of the Writer's share income generated by your PRO. In other words, if the company licenses your music under a blanket deal, you'll get income. If they license it for a YouTube video, you'll get income. Not all music libraries pay you for things like that! The Publisher will get 100% of the Publisher's share.

Because this is an Exclusive deal, the music you submit for this pitch cannot already be signed with other Libraries or Publishers. You must own or control 100% of your Masters and Copyright. Please send as many Instrumental Cues 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 (PST) on Monday, March 4th, 2024. TAXI # S240304HY

[Telefunkin]

Hi, I quite like this one and think it has a chance. Suggestions:- I hear a lot of sub frequencies that detract from the important bits, so maybe use a bit of high pass filtering to clean that up. Also, remember that the last few seconds of your track could be used to end a scene, so always have a conclusive ending that sounds composed - in this case you could stop the arp so your track finishes on that boom/hit rather than letting the arp play on.

BTW - the ref track link is broken so I've not heard any refs, and comments from those who have might be more helpful

[themarkalanproject]

Awesome critique! Like the high pass filtering idea. Yes, you are now the second person that says stop the arp. So that is happening. I will fix the link! Thanks so much!