Resisting METADATA
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- Russell Landwehr
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Resisting METADATA
Adding metadata to files before sending them to music libraries is one of the things I totally DREAD about this business. As that moment approaches I feel increasing amounts of what Steven Pressfield calls "Resistance". The closer I get to that moment where I am required to create metadata, the greater this Resistance is!
I have to enter BPM, Key Signature, Genre, Sub-Genre, Composer, Publisher... and the list goes on.
The part that takes the most time, however, is filling in "moods" and "comments". These are the things that the TV shows will do searches on to find what they are looking for. I am at this moment an hour into doing this for five cues with alts totaling 11 files. (I've probably got another half-hour to go) I listen to each alt, and find mood tags that fit the alt, then type in a brief description of the cue and add the mood tags.
Why not just create one description and list of tags and then copy it to each alternate version of a cue? Because not every alt has the same exact feel.
In this business, the second most important thing (after the quality of your cue) is making sure a music supervisor can find your cue/alt that is specific to their needs. Detailed Attention to your metadata and tagging is how this happens.
AND... THIS is why there is SOOOO much Resistance! The ENEMY doesn't want us to succeed. The ENEMY puts greater Resistance on us as we approach that moment of doing something that will bring us success! And then when we are actually in the midst of this action, the ENEMY continues to add Resistance in the form of tempting us to just half-ass this process. Once we realize this, the metadata process that will bring us greater success becomes so important to us that Resistance begins to melt away... (until the next time).
There, I've given myself a pep talk... gotta get back to it.
Russell
I have to enter BPM, Key Signature, Genre, Sub-Genre, Composer, Publisher... and the list goes on.
The part that takes the most time, however, is filling in "moods" and "comments". These are the things that the TV shows will do searches on to find what they are looking for. I am at this moment an hour into doing this for five cues with alts totaling 11 files. (I've probably got another half-hour to go) I listen to each alt, and find mood tags that fit the alt, then type in a brief description of the cue and add the mood tags.
Why not just create one description and list of tags and then copy it to each alternate version of a cue? Because not every alt has the same exact feel.
In this business, the second most important thing (after the quality of your cue) is making sure a music supervisor can find your cue/alt that is specific to their needs. Detailed Attention to your metadata and tagging is how this happens.
AND... THIS is why there is SOOOO much Resistance! The ENEMY doesn't want us to succeed. The ENEMY puts greater Resistance on us as we approach that moment of doing something that will bring us success! And then when we are actually in the midst of this action, the ENEMY continues to add Resistance in the form of tempting us to just half-ass this process. Once we realize this, the metadata process that will bring us greater success becomes so important to us that Resistance begins to melt away... (until the next time).
There, I've given myself a pep talk... gotta get back to it.
Russell
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- ttully
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Re: Resisting METADATA
Oh Russell...
You are 1000% correct....yes..... one thousand!!!
I have a few libraries that will fill in all the metadata.
But then there are the ones that want you to fill it all in...... I absolutely dread it.
LIke you say..not so much the easy stuff.... Title , PRO, BPM, Key.... it's the OTHER STUFF.... mood... description... comments... sound alikes....uuggggg.....
I just put this for description in a track I just did..... 'The best Epic Orchestral Tension track you'll ever hear.... no need to look any farther... this is the one... pick me...oh pick me!!!!'
Ok...I didn't write that.... but I just might and see what happens!
My 1000 cents worth, (that's $10 dollars, for those of you keeping score)
Tim
You are 1000% correct....yes..... one thousand!!!
I have a few libraries that will fill in all the metadata.
But then there are the ones that want you to fill it all in...... I absolutely dread it.
LIke you say..not so much the easy stuff.... Title , PRO, BPM, Key.... it's the OTHER STUFF.... mood... description... comments... sound alikes....uuggggg.....
I just put this for description in a track I just did..... 'The best Epic Orchestral Tension track you'll ever hear.... no need to look any farther... this is the one... pick me...oh pick me!!!!'
Ok...I didn't write that.... but I just might and see what happens!
My 1000 cents worth, (that's $10 dollars, for those of you keeping score)
Tim
- Susanstunes
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Re: Resisting METADATA
Wow, that Steven Pressfield.
I dont think I've ever bonded with an author like I have with him. His ideas/beliefs about resistance- why it happens, what it means, etc. are so key to the behavior of a creative person, its crazy!
I hope you made those descriptions sing!
Thanks for sharing this.... Susan
I dont think I've ever bonded with an author like I have with him. His ideas/beliefs about resistance- why it happens, what it means, etc. are so key to the behavior of a creative person, its crazy!
I hope you made those descriptions sing!
Thanks for sharing this.... Susan
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Re: Resisting METADATA
Boy that's what I do. I apply the same comments to the main mix and alts associated with it. Not just to save time, but to make sure that the whole 'family' of cues shows up for a given search, and because I don't hear a great if any distinction between the main and alts. But, maybe I'm doing it wrong. I would check with your publisher and see what/how they advise.Russell Landwehr wrote: ↑Sat Jun 29, 2019 9:45 am...
The part that takes the most time, however, is filling in "moods" and "comments". These are the things that the TV shows will do searches on to find what they are looking for. I am at this moment an hour into doing this for five cues with alts totaling 11 files. (I've probably got another half-hour to go) I listen to each alt, and find mood tags that fit the alt, then type in a brief description of the cue and add the mood tags.
Why not just create one description and list of tags and then copy it to each alternate version of a cue? Because not every alt has the same exact feel.
...
Russell
That said, good on you for having tracks to publish and for being that intentional with the book-keeping part of the business.
Erich
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Re: Resisting METADATA
Another thing that helps me with this is to 'front-load' the mood and feel on the track. In other words, I try to have a clear idea of what I want my cue to project early in the life of the cue; while I'm composing, tracking and producing. I keep all that stuff in my own database and have it ready if/when something gets published. It's also super helpful for my own searches. If a publisher or a Taxi pitch is looking for upbeat, aggressive, or ala Wayne Newton or whatever I can run queries in my db and find stuff that matches.
HTH
HTH
Erich
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https://www.taxi.com/members/HZDnpEFvRX ... ich-gruber
http://www.SoundClick.com/Teleblaster
Quondo Omni Flunkus Morotadi! (When all else fails, play dead... )
http://www.ReverbNation.com/aerichgruber
https://www.taxi.com/members/HZDnpEFvRX ... ich-gruber
http://www.SoundClick.com/Teleblaster
Quondo Omni Flunkus Morotadi! (When all else fails, play dead... )
- Telefunkin
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Re: Resisting METADATA
Hi Russell, I'm predicting an avalanche of 'me too's' on this
I've often wondered whether anyone has any software tools to help with the problem. The only things I've used are thesaurus checks on alternative words, and a list of various moods. There's got to be something better though. Maybe this could be a new software project for Keith LuBrant.
I've often wondered whether anyone has any software tools to help with the problem. The only things I've used are thesaurus checks on alternative words, and a list of various moods. There's got to be something better though. Maybe this could be a new software project for Keith LuBrant.
Graham (UK). Still composing a little faster than decomposing, and 100% HI.
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