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This isn't for a current listing on Taxi, but I know these kinds of cues come up from time to time. So, I thought I'd get a jump on it!OK, actually, the melody just came to me while noodling on the piano one night, and I finally got around to developing it a little. Taxi is just an excuse. Anyway, I consider this a first draft. Normally, I'd sit on it for a month or two listening to it again and again, and over time I'd work all the bugs out. Since there is no deadline, I'll still do that probably, but now that I have placement in music libraries as the end goal for my writing, I'd also appreciate your critiques with that in mind.Here's the song:Childhood DreamsLike I said, this is a first draft, and I know there are a few things that need tweaks. I'd appreciate any comments you have on either the engineering or the composition itself (i.e. where the melody may be weak, what transitions may be weak, etc.)Thanks in advance!Kevin

BTW, one thing that I forgot to request in my opening post:One of the things I'd like to know is how much of a "synthy" sound I can get away with before music libraries won't accept my music. Obviously, for the kinds of cues I do, I need to always shoot for as realistic of a sound as possible, but until I get the full Symphonic Cube from Vienna Symphony Library, coupled with the Garriton Libraries, and five computers linked together to run the libraries, I'm always going to be settling for less than the ideal. Even with my dream setup, computer orchestras just don't hold a candle to live players, imo.So, while you're listening to this cue (remembering that this is still just a first draft, so to speak) I'd appreciate knowing what you feel works well enough and what isn't going to cut the grade where we're talking about tv and film placements.For example, the timpani and suspended cymbals bug me right now. It's so hard to coax the level of expression that I need out of synth timpani/cymbals. So, for the final track, I'll probably bring in a friend to play those two instruments live.There are other things that bug me, and other things that I think are OK. But, I'd really like to hear from you all to see how much my ear lines up with everyone else's, therefore I'll forego a self-critical treatise for the time being. Thanks everyone!Kevin

No one seems to be saying much. I can't give you any practical suggestions, old stick, other than to say I felt the ending was weak, which may mean that it is only tentative. But to my ears this is an outstanding piece of music. I have no problem envisioning it in a variety of movie scenes. Others will come along anon with some suggestions which can actually help you.

Quote:No one seems to be saying much. I can't give you any practical suggestions, old stick, other than to say I felt the ending was weak, which may mean that it is only tentative. But to my ears this is an outstanding piece of music. I have no problem envisioning it in a variety of movie scenes. Others will come along anon with some suggestions which can actually help you.Hey horacejesse,Thanks for your critique. I have to agree with you on the ending. It's one of those things where I couldn't think up something brilliant at the time, so I put in what I call a "placeholder" ending -- something that effectively ends the piece, but something that's on my list of things to tweak for the 2nd draft.I was expecting some comments on the transition between the end of the "B" section into the last repeat of the "A" section, too. That was also a "placeholder" transition for me. Particularly the ascending violin line. I don't know. It works, I guess, but I think I can do better.I'm glad you liked the main idea, though.Thanks for your feedback!KevinP.S. I seriously don't know how film scorers write so many cues so quickly. I understand that often they don't have any more than 3 or 4 weeks to write all the music for a movie! I, on the other hand, have to write a piece, then put it away for a few days, then break it out again to tweak it, then put it away for a few days.Of course, if I had a film that I had to make the deadline on, I guess that'd motivate me to go faster.

KevinI found it to be quite beautiful. The engineering and production (e.g. too "synthy" or not) are not my area of expertise at all, but many others on this board do instrumental cues for film/TV and could offer comment. Stick around and hopefully Matto and Dave will kick in.I like!! Casey

Kevin,This sounds really nice. I dont know if I'm out of line here but Dave Grusin comes to mind hearing this, particularily similiar to 'On Golden Pond' as opposed to his jazzy stuff from Fab Baker Boys,etc. Very cool!Rich