Forwarded for listing returned for other identical listing

[AlCompose]

Hi Guys, Al here new to the forum, I've been writing like crazy lately and pleased to say I've had 3 tracks forwarded in April so I'm chuffed

https://soundcloud.com/alan-shelley/temptations-3
https://soundcloud.com/alan-shelley/a-p ... the-rain-4
https://soundcloud.com/alan-shelley/the-traitor-3

But I have a question for you guys more experienced in getting songs forwarded, I submitted the track Temptations'.. first track above to this listing below And it got forwarded

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


I then submitted it to this listing below and it got returned just wondering if this has happened to you guys

ORCHESTRAL TENSION-based HYBRID INSTRUMENTAL CUES are needed by a well-connected and extremely busy Music Licensing Company for placements in TV, Film, and Commercials. They're on the hunt to find Down-to-Mid-Tempo Cues that you'd hear on shows like (but not limited to): Arrow, Gotham, Daredevil, etc., etc., etc. Please submit well-crafted Instrumental Cues that blend Electronic and Orchestral elements to help create a unique, yet mood-setting quality you'd expect to hear in the references above. Instrumentation and electronic sounds can vary, but should be focused on a central melodic motif, while layering various instruments in and out as your Cue progresses to keep it compelling, forward moving, and filled with a growing sense of tension. All submissions should be at least 2 minutes long with easy edit points and Buttoned/Stinger endings that will make them more desirable to the shows' editors. Broadcast Quality is needed (Great sounding home recordings are fine). This company offers an EXCLUSIVE, 50/50 deal. You'll keep 100% of your Writer's share, and the Publisher will keep 100% of the Publishing. You must own or control your Master and Copyright. Please submit one to three Instrumental Cues online or per CD. All submissions will be screened and critiqued by TAXI and must be received no later than 11:59PM (PST), on Wednesday, may 11th, 2016. TAXI #S160511TC

(Critique)
Hi Al, thanks for sending in these two cues for consideration for this listing. The first piece, 'Temptation' is a very well put together track that has many great appealing elements going for it. The sound choices are very good and the musicality definitely grabs the attention of a listener both sonically and emotionally. Still, the cue builds up then down then into a huge sound that veers away from tension into something bigger. I believe the listing is looking for work that would sustain the tense mood throughout the piece but still keep the cue musically and sonically compelling. The second piece has some really great sounds and tonal elements but needs more of a melodic motif to totally satisfy this particular listing! Very good work indeed though Alan. Undeniable talent. Keep creating!

So just wanted to say hello and see if you guys have come across this type of scenario before, Hopefully i'll get some more tracks forwarded

Have a good one
Al

[MattCurious]

Hi Al

I'm writing just before work (as usual) so forgive the brevity. I have two thoughts:

The listings aren't actually identical. The variations in wording are just as important as the reference tracks. I have more success when I do a "close read" of the listing, and keep returning to it during the writing and production processes.

Sometimes, even if the listings actually are identical, two different screeners will have differing opinions on a track. Or even the same screener on different days. This is partly because music is a subjective art form, and partly because each listing has a different underlying client with a different underlying project. This makes it something of a numbers game.

Congratulations on the forwards so far!

Best wishes
Matt

[lesmac]

Ive had that happen with very similar listings and the same screener.

Every word has meaning in the listings so it pays to scrutinise them pretty well.

[Casey H]

As Matt said, the listings aren't truly "identical". There is a "bar" for each one as far as how well the tracks must fit the request, quality (even if subjective), etc.

And yes, screeners are human and there will be some variation from screener to screener.

Best
Casey

[AlCompose]

Hi Guys thanks for the replies... Yeah I've been over it a 100 times, they're ever so slightly different, and worded differently... But your right you do have to read them over and over to make sure your not missing anything, I think I'll have to put this one down to experience Cheers Al