Like Peter remarked - this is a feel good thing that could be used in the right situation. Its a really good start but you can go way deeper into making this a great Broadcast Quality production.
The deeper you get on one cue, the easier it is to apply that depth of skill to a wider variety of genres and styles.
I would suggest the following:
1) read these books by Dean
https://www.amazon.com/Dean-Krippaehne/ ... 654&sr=1-1 Demystifying the cue would be a good start. Production music has a specific form. The more educated you get on it, the more versatile you can be.
2) listen to some really great cues in BIG production music libraries. You can google these. Hint: they are usually owned by large communications entities. Most of them have tonnes of music on their sites, in a bazillion different genres. Find something that approximates the genre that you are working in. Then start taking notes - sounds, arrangement / form, mixing, production quality etc. Take note of the apparent volume to the ear of the cues. Your music will be compared against stuff of that quality so it helps to be in the ballpark level wise (related to how your are "mastering" your cues).
3) Go back to your cue and try to make modifications to make it closer to the quality of cues you have been listening to.
Producing instrumental music for film and TV is a game of being able to listen for the right things in reference tracks, and then listen to your own track with objectivity and detachment and make moves that put it in the right place to be competitive.
Peter already detailed a few things which I agree with.
Things I would look at:
1) Adding edit points. These are not essential, but picture editors often can use them to make more artful use of your music and conform it to pictures. 0:41 in this gives one possible way they could appear in a piece
https://youtu.be/Y66j_BUCBMY - there are many other variations. These can add punctuation and a breath to your music.
2) rhythmic accuracy - as Peter noted
3) build arrangement - using stereo acoustic guitars is a choice you made.
What if the cue started with one center panned acoustic and after the first couple repetitions of the melody branched out to L and R guitars?
What if the arrangement started more minimally?
What if you held back the bass until the first melody section was over?
What if you started with no claps until the first or second melody repeat?
What if the claps were replaced by finger snaps on the first time through?
What if the quirky melodic figure starting the bridge was a different sound?
What if the melody started with piano, and then was doubled by some kind of hammered percussion and then doubled again with something else?
What if the piano made the first melody statement and then dropped out to a BG chord role with the melody being taken by other instruments?
What are typical melody instruments in acoustic type feel good tunes?
What if the bass was accentuated by a quarter note bass drum?
What if the bass got slightly more active as the cue progressed?
etc.
4) Mix - this is the kind of cue that its easy to lose objectivity in a hurry. Its reverb heavy and lush. You need a reference to refer to, or have a really strong idea of what you are going for.
To me: The piano sounds like its a thousand yards away- way behind the guitars. The claps are also pretty lush.
5) Polish - the ending. Turn up your monitors and listen. You can hear different fades on different instruments, and you can hear a click where you hit the computer keyboard to stop recording. Clean all of that up. Broadcast quality music is free of those artifacts.
Hope that helps. Great effort to start.
