Contemplative Hybrid Underscore Instro Feedback Request

[mattbee]

Would love some feedback on this one, still a little rough around the edit points. (The references didn't really have any transition effects so I've so far resisted the temptation for reverse sounds etc but I think I've got to do something to help them along maybe). Anyway, keen for any feedback whatsoever
My track:
https://www.dropbox.com/scl/fi/p79a7cco ... 0le6h&dl=0

References:
References

Listing info:
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

Many thanks in advance!

[AlanHall]

Hi Matt!

In no particular order, my observations (not a critique!)

The ref tracks seem to focus on (semi) acoustic-sounding instruments at least to start: kalimba, electric guitar, felt piano, etc. So the FM bell-tone that you start out with is very plain in comparison. Maybe sub in something with a bit more flavor?

The ref tracks also have great dynamic contrast; sections that are very quiet to separate louder sections. Your track has edit points, but it doesn't offer the same options to the editor in terms of dynamics.

The first few edit points in your track sound to end on something other than tonic. I'm not sure if that's a bad thing, but it was a little disconcerting for me. Maybe one edit that leaves the listener hanging is enough?

Your piece has so many edit points that didn't really seem to 'get going' until almost the 1 minute mark. I count 5 besides the tag. The refs that I just listened to had 2 or 3 edit points. Consider allowing one of your edit points to transition into a quiet section, remove some of the others?

The percussion is very dry, and kind of sticks out by itself. A bigger percussion section will also allow for subtle layers as the track builds.

hope this helps!
Alan

[mattbee]

Hi Matt!

In no particular order, my observations (not a critique!)

The ref tracks seem to focus on (semi) acoustic-sounding instruments at least to start: kalimba, electric guitar, felt piano, etc. So the FM bell-tone that you start out with is very plain in comparison. Maybe sub in something with a bit more flavor?

The ref tracks also have great dynamic contrast; sections that are very quiet to separate louder sections. Your track has edit points, but it doesn't offer the same options to the editor in terms of dynamics.

The first few edit points in your track sound to end on something other than tonic. I'm not sure if that's a bad thing, but it was a little disconcerting for me. Maybe one edit that leaves the listener hanging is enough?

Your piece has so many edit points that didn't really seem to 'get going' until almost the 1 minute mark. I count 5 besides the tag. The refs that I just listened to had 2 or 3 edit points. Consider allowing one of your edit points to transition into a quiet section, remove some of the others?

The percussion is very dry, and kind of sticks out by itself. A bigger percussion section will also allow for subtle layers as the track builds.

hope this helps!
Alan

That helps a ton! Especially identifying the types of synthesis used, as my brain says "I hear synth" instead of "I hear ____ type of synth". All of that is really helpful, thank you so much for your time and attention to helping, Alan!

Kind regards,