Before posting or reviewing you MUST READ THIS!

[michael11]

Jan 1, 2009, 12:22pm, davewalton wrote:Jan 1, 2009, 11:16am, t4mh wrote:New member here! I have some questions for the TAXI admin and anyone else who has an opinion for that matter. I don't believe that I have "cornered the market" on good ideas and so I am open to comment. Some things come to mind as I read this thread about the critique sheet. First, I agree that the critique sheet is a good idea for "SONGS". However, I don't sing, I can't carry much of a tune, I have little or no access to any singers and so I don't write songs. My area of music is instrumental. I believe that the critique sheet for instrumentals HAS to be different than what is posted here. Current sounding? On target? What is that? "Current sounding" of course depends on the listing but if your instrumentals sound like they came from the 80's or 90's... that's not current. Doesn't matter if it's rock, hip hop, electronica or what... today's sounds are much different than they were 10 or 20 years ago. Even with orchestral, there's a difference between a current "Hans Zimmer" style piece vs something that Lalo Schifrin did in the 70's or 80's. "On target"... that even applies to selling copiers. Somebody asks for a color copier that does duplexing and you give them a black and while copier with no duplexing... no sale. Same with music. If they want "soaring orchestral"... better make sure your orchestral REALLY soars. None of us "virtual composers" are going to beat out James Newton Howard and the London Philharmonic for the next Hollywood blockbuster film but for most television and non-studio films... virtual orchestras are used all the time (including a lot of music from the virtual composer crowd here on the forum).Not at all... we're not competing (for the most part) against John Williams, we're competing against other virtual composers (many of which are very good). Besides... a live orchestra in a recording studio is VERY expensive. A $2500 licensing fee wouldn't even begin to cover the cost of a single recording session for a 60-piece orchestra. But... a $2500 licensing fee for me is pretty much pure profit. In a sense you have to reverse the thinking... they can't compete with us. Quote: I don't know. I can write anything and in most cases I can play all of the instruments. You would think they would be more interested in finding someone who can create than in finding a specific creation. I may be completely wrong about this.Most places want the "creation", a single track or series of tracks, all completely ready to go for TV or film... drop them in, adjust for volume and that's it. The places that do want the "creators", they want the creator to be able to work quickly and efficiently in creating those 100% ready-to-go tracks.This is a good topic to start off the new year with. If you're in doubt about your own sounds (and I've gone through that), listen to the various instrumental tracks that get posted here and if you find that your composing skills has exceeded the quality of your sounds (a VERY common problem), then it's probably time to do a little shopping. HTH,DaveWell Dave!Some of your replies would put Solomon to shame but this definatly takes the biscuit!! 10/10Oh Yeah!!!More doggie and more music please.

[davewalton]

Jan 1, 2009, 12:57pm, michael11 wrote:Well Dave!Some of your replies would put Solomon to shame but this definatly takes the biscuit!! 10/10Oh Yeah!!!It looked like an opportunity to kick off the 2009 "Listen To Dave" t-shirt sales campaign, so I took it.

[rfrey]

Jan 1, 2009, 2:57pm, davewalton wrote:It looked like an opportunity to kick off the 2009 "Listen To Dave" t-shirt sales campaign, so I took it. Hey Dave, if ya do the t-shirts let me know I'll buy one! Rich

[BraveNote]

OK, so, I'm reading the TAXI Custom Critique with all it's standards and preferences for melody, lyric, structure, etc...etc..... I can't help but ask why TAXI, I mean, with all the years and information TAXI and it's full time members have acumulated from the needs and wants of Maj. labels, can't become a hit making machine itself....Let's take a couple of decent musicians with good chops and maybe a few fmle vox, do a little homework and submit the goods. How could it loose? Does anybody know where I'm going with this or, am I totally nuts??Please.. Somebody help me out here?

[glender]

OK, first post here goes...First off I'd like to say I appreciate the honesty and sincerity of everyone that hangs out in these forums. I've been browsing for awhile now and what I've been reading is very good stuff. Case in point would be this very thread. The screeners sheet was very informative, it really helps a person understand the reality of this business. I'm amazed how many of my own questions are getting asked and answered in these forums.Speaking of songwriters I was checking out Kara Dioguardi's bio and listening to some of her demos. That chick can really sing, and she's a major hottie . It's a scary thought she never made it as a recording artist with her vibe. And a scarier thought that I have to compete with her demos. It makes me realize early on that the bar is set rather high for songwriters these days. The idea that we have to present a song in "broadcast quality" seems preposterous. I mean really, your telling me a talented song writer has to spoon feed the people sitting in multi-million dollar studios with union musicians at their beckon call? I guess no one can hear the sound of a quality song any more without all the bells and whistles attached. I wonder if John Lennon would have made it as a song writer if he had never been a Beatle to begin with? "Imagine" probably would never have been pitched if he didn't have the money to do a "studio quality demo" Oh well I guess we could have lived without that one. It's amazing that record execs have no ear for talent. How in the hell did Bob Dylan ever get signed? And would he stand a chance by today's standards if he had been born thirty years later? I always love it when people like David Gray (White Ladder) or Glen Hansard (Once sound track) break out of the mold and release some real heart felt songs. Just when you thought it was impossible for a real songwriter to emerge people like this find a way. (Thanks guys) I for one am a songwriter that can't carry a tune or stay on pitch to save his life. My guitar skills are sub-standard at best. That means I will need a singer, a couple of good musicians and some studio recording equipment just to get started. (How nice) I literally know homeless people that play and sing better than I do. (That's no lie) In L.A. there are plenty of talented homeless people. I know quite a few that I'll never be as good as instrumentally or vocally. That was a big reality check for me when I first moved to CA. twenty years ago to pursue a career in the music business. After struggling for four years in L.A. I ended up getting married and raising a couple of kids but things tend to go full circle and now I'm writing again. It just comes so natural and easy for me to create songs I really have no say in the matter. I would like Chris to know I listened to his songs. The quality of the engineering and broadcast seemed pretty good to me. The lyrics were a little annoying but I don't listen to rap so take my review with a grain of salt. As far as the music it sounded like something that would have been cutting edge twenty five years ago. The problem I have with it, is it sounds like everything else you hear in that genre. Nothing really jumps out at me as new or original. I wouldn't go so far as to say it's not marketable though, It seems like something that could easily be placed in a movie or commercial. I'd try to get it in the hands of a few TV/Movie catalogs but I don't think I'd waste time or money pitching it too professional bands as it doesn't seem cutting edge enough by today's standards. Take care folks I look forward to chatting with you some more down the line. I haven't joined yet since a membership is like a parking meter that is running for one year. I'll wait to bring my songs up to snuff before I join and start submitting. I have about twenty five in my catalog that are ready to go, I'm actually going to copyright the whole batch shortly.Remember "Music is a labor of love, money is merely the fruit of that labor"

[hummingbird]

Welcome aboard. Just a clarification: Broadcast quality isn't required for song pitches (demos) - that's film/tv. It's required for film/tv because the track will not be re-recorded, but used as is.

[glender]

Thanks Vikki, that makes sense. I was really hoping I could get by with nothing more than a guitar track and a vocal. My style is very raw/folky with strong lyrical content. Definitely in the Bob Dylan/ Neil Young songwriting style. I was hoping my vocals would be comparable to Bob Dylan but after recording fifteen songs it appears Bob has me squashed in that department too. The way I hear it in my head and the way it sounds recorded are two different animals, although I think it's close enough to convey the melody line to someone who can actually sing. BTW I've seen quite a few of your posts and I checked out your page. It's very nice to see someone with your talent contributing so much in these forums. You have a nice voice too, I really liked your take on House of the rising sun. Take careGlender

[hummingbird]

Oct 24, 2009, 2:57pm, glender wrote: BTW I've seen quite a few of your posts and I checked out your page. It's very nice to see someone with your talent contributing so much in these forums. aw, thanks... but there are many more accomplished than me on these boards - most of what I know I learned from them. I'm just payin' it forwardQuote:You have a nice voice too, I really liked your take on House of the rising sun. - thanks for the listen, glad you liked my experimental foolin'... don't forget you can use Peer to Peer and the Tech Forum to help you get your tracks to the level you want them to be. This place is a great resource.

[Casey H]

Hi GlenderWelcome. Demos for song pitches may not have to be broadcast quality in the full sense, but in today's world, they have to be pretty good. That doesn't mean they always need more than a G&V or P&V but the performance has to be excellent and the recording quality reasonably good.A poorly sung vocal (I can't sing for sh*t either!) or sloppy guitar won't cut it. Remember you are competing in a world where thousands of folks record very high quality material in home studios. The bar is higher. So it is not really preposterous that there is some spoon feeding to A&R types. The don't apply as much imagination as they might have decades ago.Non-performing songwriters (I am one) DO have to have their songs recorded by pro demo services... Either that or collaborate with someone who has the performance and production chops needed to make a solid demo.It's expensive, yes. The best thing to do is get professional feedback on your song itself and make adjustments before shelling out the cash. You CAN send your rough work-tape, sub-Dylan vocal et al , into taxi for a custom critique--- definitely worth every penny of the $20. Regarding Lennon, The Beatles, Dylan, etc, all I can say as one who was around in the 60's is.... It ain't the 60's anymore. Comparisons to how things happened back then don't mean a whole lot today. You have to work within the framework of the modern music world, for better or worse, like it or not.I loved the film "Once", BTW!If you ever want to share a rough work-tape with me for feedback, let me know. You can reach me with a PM here or through my website.Best of luck! Casey

[glender]

Thanks Casey, I might take you up on that song review offer. I'd rather bounce my stuff off of fellow songwriters than friends or family. Is there a cheap place to host music? These wave files are pushing 36-40 MB. A little to big to e-mail.