Not quite sure why I even try at all

[DanGalasso]

This was pretty spot on for the listing based on the examples they provided IMO, and I think the screener missed the mark, or maybe I'm just trash and should give it up entirely.

Here is the review:
https://www.taxi.com/my/submissions/20460445/critique

More specifically: What I like most about this song
The track length is compliant with our listing.

I think you could improve this song by
The main synth are that starts the track feels too bright. I think we could have more warmer synths to capture the reflective vibe that the listing needs.

I returned or forwarded this song because
Synth textures could have a more reflective vibe. Mood is off target with the listing.


Here is the track I submitted:
https://www.taxi.com/members/ujrTCM1MTH ... derscore-1

Here are the examples from the listing:
https://www.dropbox.com/scl/fo/35sc6p87 ... nn2f2&dl=0

Here is the listing:
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

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

TAXI # S240304HY

[macomposer]

So I couldn't see the review (this page does not exist or something or another - just paste the comments here...)

The track is good - I really like it... except for the sawtooth synth buzz. I don't know if that was in the review, but it took me out of the piece. The piece started and I saw in my head a scene from any investigative TV show, so I'm thinking it would work very well! But then that buzz came in, and it all went away.

So you have to either just take it out, or if it's compositionally important to you, find another sound... That sounded like the default sound you get when you open Omnisphere.

Hang in there - it's really good. Just needs a slight rewrite.

Mark

[DanGalasso]

So I couldn't see the review (this page does not exist or something or another - just paste the comments here...)

The track is good - I really like it... except for the sawtooth synth buzz. I don't know if that was in the review, but it took me out of the piece. The piece started and I saw in my head a scene from any investigative TV show, so I'm thinking it would work very well! But then that buzz came in, and it all went away.

So you have to either just take it out, or if it's compositionally important to you, find another sound... That sounded like the default sound you get when you open Omnisphere.

Hang in there - it's really good. Just needs a slight rewrite.

Mark

Thanks Mark, I appreciate the feedback. I think my big gripe about this whole thing is... I can easily make any changes to the tones and synths I used and resubmit in a couple hours, but because the opportunity window is now over, and any changes wouldn't apply to this listing/review anyway, so it feels like it would be a complete waste of time/energy. And then either I use ozone 11 to master it before submission and things are "Too bright" or I don't use ozone 11 and it sounds "like a demo"... I'm just frustrated. :/

-Dan

[cosmicdolphin]

This was pretty spot on for the listing based on the examples they provided IMO, and I think the screener missed the mark, or maybe I'm just trash and should give it up entirely.

Screener is right, this is somewhat close I think but has too many things going against it. If I A/B it against the refs it's not the same feeling. Tonally it feels like it's an octave higher, so it's in that area where it could intefere with dialogue rather than sit well below it. The squeaky synth is just a big red flag for me and took it from a ' Maybe' to a 'No' immediately. You wouldn't hear that in a cue like this it's just too distracting.

I would change/lower by an octave that first sound an either lose the synth squeak entirely or replace it with something more suitable. The actual writing and structure work well I think but the sounds / production miss the bar.

. I think my big gripe about this whole thing is... I can easily make any changes to the tones and synths I used and resubmit in a couple hours, but because the opportunity window is now over, and any changes wouldn't apply to this listing/review anyway, so it feels like it would be a complete waste of time/energy.

The whole system would be unworkable if Taxi allowed edits following screening and if you've weatched enough Taxi TV episodes you will hear this crop up from time to time and understand why. But if you make the changes now then improve the track then it might be suitable for another opportunity at a later date. Or if/when you do sign some music to a library they may be interested in other music you have.

And then either I use ozone 11 to master it before submission and things are "Too bright" or I don't use ozone 11 and it sounds "like a demo"... I'm just frustrated. :/

Many of us use Ozone , and the ones who make a lot of music have it in the session as the final plugin on our Master Buss. i.e. we don't master as a separate process..once we bounce the track ( and subsequently the stems, alt mixes etc ) then the track is already mastered. Done. This saves a huge amount of time and also makes it much easier to recall the exact same masteredd mix if for any reason you need to go back to it later.

If you're finding Ozone is making things too bright then I assume you're using the Mastering Assitant ? I think that's a good idea because it usually does a decent job but it can be somewhat overzealous and you may want to dig in manually to tame it's excesses ( yes it puts too much top end on quite often ) and dial back a little on what it's applied.

Mark

[DanGalasso]

This was pretty spot on for the listing based on the examples they provided IMO, and I think the screener missed the mark, or maybe I'm just trash and should give it up entirely.

Screener is right, this is somewhat close I think but has too many things going against it. If I A/B it against the refs it's not the same feeling. Tonally it feels like it's an octave higher, so it's in that area where it could intefere with dialogue rather than sit well below it. The squeaky synth is just a big red flag for me and took it from a ' Maybe' to a 'No' immediately. You wouldn't hear that in a cue like this it's just too distracting.

I would change/lower by an octave that first sound an either lose the synth squeak entirely or replace it with something more suitable. The actual writing and structure work well I think but the sounds / production miss the bar.

. I think my big gripe about this whole thing is... I can easily make any changes to the tones and synths I used and resubmit in a couple hours, but because the opportunity window is now over, and any changes wouldn't apply to this listing/review anyway, so it feels like it would be a complete waste of time/energy.

The whole system would be unworkable if Taxi allowed edits following screening and if you've weatched enough Taxi TV episodes you will hear this crop up from time to time and understand why. But if you make the changes now then improve the track then it might be suitable for another opportunity at a later date. Or if/when you do sign some music to a library they may be interested in other music you have.

And then either I use ozone 11 to master it before submission and things are "Too bright" or I don't use ozone 11 and it sounds "like a demo"... I'm just frustrated. :/

Many of us use Ozone , and the ones who make a lot of music have it in the session as the final plugin on our Master Buss. i.e. we don't master as a separate process..once we bounce the track ( and subsequently the stems, alt mixes etc ) then the track is already mastered. Done. This saves a huge amount of time and also makes it much easier to recall the exact same masteredd mix if for any reason you need to go back to it later.

If you're finding Ozone is making things too bright then I assume you're using the Mastering Assitant ? I think that's a good idea because it usually does a decent job but it can be somewhat overzealous and you may want to dig in manually to tame it's excesses ( yes it puts too much top end on quite often ) and dial back a little on what it's applied.

Mark

Mark, as always, thank you for the valuable feedback. I will try to address the things you pointed out and transpose everything a bit lower, maybe a half octave will be enough, and I'll try to find a better sound for the "buzz buzz buzz" part that comes in around 11.5 seconds in. (I assume that's the "no" sound you're talking about).

I have been using a separate mastering interface with ozone with the mastering assistant to get me close, and have toyed with the idea of putting the plugin on the master bus in the main mix area because you are right in saying that it is easier to work with that way. It has been rather annoying to make changes to my mix, then update the mastering file, then switch to the mastering console and tweak again, etc. Just dumping a mixdown with ozone in the master bus will definitely be a lot easier, and will provide the ability to hear the results of my changes in real-time rather than the back and forth I've been dealing with up until now. I need to start getting this right so I get more forwards or it's just going to be an awful waste of money to continue.

[AlanHall]

If it's any consolation my track was returned also, and for reasons that at first blush seem quite trivial. In a day or two I will cool down and get something useful and actionable out of the critique, but for now it hurts. I feel your pain.

I can echo the sentiments behind the comments about that 3-tone motif "buzz buzz buzz". Seemed out of place next to the other, far more modern, synth sounds. Easy fix, and you're good to go! ...for the next time

[DanGalasso]

Ok.. so... I used different sounds for the buzzy bits and adjusted the mix a bit to accommodate those changes and updated the song on my profile. It's probably still trash but..it is what it is I guess.

[macomposer]

Much Better! At least to my ears! Cool!