S240304HY CONTEMPLATIVE HYBRID UNDERSCORE - Feedback?

[tylersnow]

Hello Everyone!

I believe this might be my first time posting on the forum, so thanks for taking the time to offer your feedback!

I've been working on this track and think I'm near completion. I do have a few reservations, but I'm not going to say anything. I'd rather just see what everyone else thinks.

https://www.dropbox.com/scl/fi/6pgngsxq ... saihj&dl=0


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

[AlanHall]

Hey Tyler!
A great-sounding track! Was this also submitted to S240225UN Piano Underscores? Just wondering.

I think it follows the listing, I don't hear any issues there. My two comments are:
1. Listening to the cue I don't fall into a tranquil daydream. As a music editor, I'd skip your tune based on the title if I was looking for something driving and a bit edgy - which is how I hear your cue. More fitting for a police drama than a Hallmark romance? A different title would help the cue get the attention of a busy editor looking for the kind of cue it really is.
2. The section that starts at about 1:25 sounds exactly like the section that starts about 0:20. If there are differences I can't make them out on the computer speakers I'm using here. I'd suggest muting some of the instruments in the first section so that there's room to build dynamically in the later section, and to give an editor more options for the cue.

Hope this helps,
Alan

[tylersnow]

Great advice! Thanks for the feedback. I’m gonna tweak it tonight before the deadline. I did not submit this before, I made it the other night for this listing.