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I have had three returns lately where the screener said "good track, but not compelling enough for this listing". I have noticed a lot of listing with the word 'compelling'. Could someone explain in detail what they are meaning by "needs to be compelling". I'm just at a loss as to how to fix the tracks.

Thanks for any help
Mike

Like Graham says, I also think its an arrangement thing.

Creating a nice arc of energy in the track, where you start out more sparse and add things, or change things up underway.

Proper use of counterpoint to compose the right emotional elements in the track, creating call and response, interplay, chase or contrast ect

Staying fresh at all times, if its a familiar sound, change it up a little, not too many repeats untill you introduce something new, if you are using cliches, make sure to change them up to surprise, new textures ect.

Check out more ideas here http://www.filmmusicmag.com/?p=7122

I think Graham said it best. "Compelling" means it really grabs you and hold on to you... The kind of song that pulls at your heart and soul and one that if you heard on the radio, you wouldn't change the station. Catchy hook, memorable lyric, great emotional expression across the board, etc.

We often are the worst judges of whether or not our own songs are compelling.

Casey

piwacquet wrote:I have had three returns lately where the screener said "good track, but not compelling enough for this listing". I have noticed a lot of listing with the word 'compelling'. Could someone explain in detail what they are meaning by "needs to be compelling". I'm just at a loss as to how to fix the tracks.

Thanks for any help
Mike

There's a difference between compelling, and compelling enough for this listing. Good track indicates compelling. There is a second definition of compelling that uses synonyms such as convincing, plausible, credible, valid. Does the track validate the point in the listing? The point is what the emphasis is on. If the emphasis is on say, falling in love, how convincing is the music that someone is falling in love and not just merely love in general, or couldn't be about not only love, but a number of other things as well?

Thanks Paul, Graham, Kolstad, and Casey. Good info. Also thanks for the link. I get confused when a screener says certain things, then I dont really know which direction to go. The particular tracks I am talking about are:

Grid Iron Frenzy, Nail Biter, On Pins and Needles and Search Warrant. They are on my Taxi Page below. Three have been forwarded before to other listings.

Just trying to figure it all out for future listings.

Mike

Len911 wrote: There's a difference between compelling, and compelling enough for this listing. Good track indicates compelling. There is a second definition of compelling that uses synonyms such as convincing, plausible, credible, valid. Does the track validate the point in the listing? The point is what the emphasis is on. If the emphasis is on say, falling in love, how convincing is the music that someone is falling in love and not just merely love in general, or couldn't be about not only love, but a number of other things as well?

Yes, that's where the "bar" comes in. As we know, the bar is higher for some listings than others. If it's a song for a Grammy winning producer to have a rising star artist record, you would expect that bar to be way up high. Same for a high $ sync Film/TV placement. The bar will vary quite a lot from listing to listing.

Casey

http://forums.taxi.com/post525893.html#p525893

It also helps if the music itself is compelling, and by compelling, I mean it moves you either emotionally, spiritually or physically.

Casey, I agree totally on the "bar" thing. I hope I am getting better at quality, but only been doing this TV/Film thing a little over a year. Maybe Im a slow learner. Could use a tudor for sure.

Mojobone, thanks for the link. Good read. Maybe Ill get there down the road somewhere.

Thanks
Mike

Compelling is a nice way to say interesting. I just listened to 'Grid Iron Frenzy', it's a good rocking track, but I actually hear no melody. The guitar/bass theme at the beginning is a great intro, but after that I expected to hear a melody over the top, perhaps a lead guitar. This track keeps the same guitar/bass theme going but it doesn't vary much at all. Same thing over and over, just over different chords. Changing things up every 8 or 16 bars is something the screeners like to hear, it keeps the cue fresh and helps to prevent listener fatigue. Make sense?

Hey Paulie

Thank you for listening. The advice is right on and I see what you mean. I think I'll go back in and add some kind of variety, however, I'm really bad about over doing it. So, I have to find a happy medium.

Thank you again
Mike