TAXI.com

Hi TAXI folks. I submitted the following three tracks for the dramatic atmospheric instrumental cues, listing S210304DR. The feedback from 416 is that they need more build and dynamic and that they stay too much in one place. After checking out a few of the forwards from others I have some problems understanding what 416 means, especially when the listing spesifically asks for:

NOTE: This Company is NOT looking for Cues that build in tension and dynamics greatly as they progress. They want music that will set the atmosphere of a scene without a ton of melodic and dynamic movement/change. Subtler is better for this pitch!

416 also asks for «The ending needs to offer more punctuation, more resolve and more of a conclusion.». In what way does the referenced tracks in the listing offer resolve and conclusion? For what I can hear they all build down in the end.

I where also asked to not use pulsating or arpeggiated figures.

Here are the tracks in question:

https://soundcloud.com/admountinteracti ... wdU1h9ucni

https://soundcloud.com/admountinteracti ... 7FRcNh0mWU

https://soundcloud.com/admountinteracti ... 0I1rxvirUD

Here is a copy of the listing:
DRAMATIC, ATMOSPHERIC INSTRUMENTAL CUES are needed by a very successful Music Licensing Company with a fast-growing list of placements and clients.

This company is on the hunt for Instrumental Cues in the general stylistic ballpark of the following references:

"CLOCKMAKER" by Trent Reznor & Atticus Ross

"402.2 The Other One" by Mac Quayle

"Sonia" by Cliff Martinez

Please submit well-composed Instrumental Cues that could help establish a dramatic atmosphere in a scene. Your submissions can be straight Electronic pieces, or they can be a hybrid of Orchestral and Electronic instrumentation. Production-wise, your submissions should be polished and feature state-of-the-art software sounds and samples. Any virtual Orchestral instrumentation you use should be high-quality and not stiff or obviously MIDI-Driven. You'd be wise to stick to a single motif mood, and layer instrumentation in-and-out as you progress to create a subtle sense of forward momentum.

NOTE: This Company is NOT looking for Cues that build in tension and dynamics greatly as they progress. They want music that will set the atmosphere of a scene without a ton of melodic and dynamic movement/change. Subtler is better for this pitch!

Your submissions should be about 90 seconds to 2 minutes long, give or take. Non-faded, buttoned/stinger endings will work best. Do NOT copy the referenced material in any way, shape, or form. Use it only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed.

This company offers a NON-EXCLUSIVE deal. You’ll keep 100% of the Writer's share and Master rights and the Library will get 100% of the Publisher’s share for any placements they generate. You must own or control your Master and Copyright to submit for this opportunity. Please submit as many Instrumental Cues as you’d like, online or per CD. NO DEADLINE EXTENSIONS for this request. Sorry folks, but we're on an extremely tight deadline, so please don't even ask! All submissions will be screened and critiqued by TAXI. Submissions must be received no later than 11:59 PM (PST) on Thursday, March 4th, 2021. TAXI # S210304DR

kc2812 wrote: ↑

Wed Mar 10, 2021 8:50 pm

Hi TAXI folks. I submitted the following three tracks for the dramatic atmospheric instrumental cues, listing S210304DR. The feedback from 416 is that they need more build and dynamic and that they stay too much in one place. After checking out a few of the forwards from others I have some problems understanding what 416 means, especially when the listing spesifically asks for:

NOTE: This Company is NOT looking for Cues that build in tension and dynamics greatly as they progress. They want music that will set the atmosphere of a scene without a ton of melodic and dynamic movement/change. Subtler is better for this pitch!

416 also asks for «The ending needs to offer more punctuation, more resolve and more of a conclusion.». In what way does the referenced tracks in the listing offer resolve and conclusion? For what I can hear they all build down in the end.

I where also asked to not use pulsating or arpeggiated figures.

The links were not working so I'm not able to listen.

However, one thing I can say about the ending, even though the reference tracks may not have definite endings or conclusions, all taxi instrumental listings including this one specifically ask for " Non-faded, buttoned/stinger endings will work best". So it's always a good idea to include a nice buttoned/stinger ending regardless of what the reference tracks do.

As far as the development goes, it's tricky because it's really easy to take the " NOT looking for Cues that build in tension and dynamics" too far. They said they don't want a ton, meaning there still needs to be some. Enough to be interesting and not so much that it distracts from a scene.

Anyway, these are conclusions I've come to after being rejected for similar reasons in the past. Hope it helps. Keep composing

Thank for good comments skylarvj.

Links moved to soundcloud and updated.

Hi, KC! I listened to 'No Dignity'.
IMHO there should be some build per the listing. I hear elements come in and go out, but not structured in a way that I would call building (or layering). Specifically, there's a sound that comes in for a few notes (five?) at about the :30 mark, then again at the 1min mark, then again at the end. But all the same, no variation or alteration. And no structural relation to the other elements that you introduce, so no 'build'.
Skylar also mentioned the fade is a no-no for modern library music. That's a cardinal rule for Taxi submissions

I like the music, the flow, and the production. It might fit with a strict ambient listing as is; for most listings there needs to be an 'arc' to the cue. It needs to develop, evolve or 'go somewhere'. And that is a topic much debated; a hard target to hit.

Hi KC,

I got returned for the same reason, but the track was picked up by a library I have a relationship with anyway, so it's all good. Here it is if you're interested:

https://soundcloud.com/mwb2/the-outsiders/s-ArVFh5ratks

Anyway, after the feedback I went back and listened to the CLOCKMAKER track in particular (I'm a huge fan of Reznor/Ross soundtracks anyway) and I felt that yep, theirs develops faster than mine without sacrificing mood. In fact when I listened closely I heard subtle but noticeable changes (filters, additional intruments, drop outs, whatever) really every few seconds. As Alan says, the "developmental arc" bar can be tough to pin down, especially when some cues ask for subtle.

Cheers,
Mike

Thanks for feedback and good tips Alan and Mike. I will take use of these tips for my next submissons. Thanks for sharing your track Mike I really like it. Can I send you a PM?

kc2812 wrote: ↑

Thu Mar 11, 2021 1:03 pm

Thanks for feedback and good tips Alan and Mike. I will take use of these tips for my next submissons. Thanks for sharing your track Mike I really like it. Can I send you a PM?

For sure!