TAXI.com

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>trying again<
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Ears greatly appreciated!

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Michael & Sharon
(previous attempt here)
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ACOUSTIC GUITAR-Based 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!

NOTE: We previously ran this request as TAXI Dispatch Listing #D210710AG, but the Library didn't find what they were looking for. If you submitted to listing #D210710AG, please send different material this time around.

This is a catalog you want to be in! Please listen to the following examples the Library gave us to get yourself in the ballpark of what they need:

Instrumental Examples

Quoting the Library: "We're looking for filigree pattern-based Cues featuring acoustic guitar/stringed instruments that are underscore-friendly. Ideal for storytelling on daily TV and advertisements."

Please send well-produced, underscore-friendly Cues that feature well-played, finger-picked Acoustic Guitar as their focal point. Light percussion, synth pads, soft strings, etc. could be nice touches, as well! Craft your Cues around on clear pattern/motif, and create a sense of forward momentum and dynamics by layering instrumentation in and out as they progress. Your production should be competitive with the references. Please be sure that any virtual instruments or samples you use are modern and high-quality.

TAXI Tip: Although this Company wants pattern-based instrumentals, please keep those patterns on the simple side. Remember, you're not trying to show off what an amazing guitar player you are, so much as creating a vibe, feeling, and emotion, while leaving plenty of room for dialogue to be the focus.

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 Master and Composition rights. 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 (PDT) on Sunday, August 1st, 2021. TAXI # S210801AG

I think this is lovely! Can totally hear it in the background of tv show or movie, under dialogue. Well done.

And I do prefer it to the original you submitted, though it was nice as well. This one feels like it has more breathing room, if that makes sense.

Best of luck!

Very nice work. What would you think about adding one more instrument to the 3rd part of the
instrumental, just to give it a little more power for the grand finale? Something like a basic synth pad.

-Stu

Hi, I think you know very well what you're aiming to achieve and have all the right ideas. The arrangement is nice, as is the gradual introduction of other instruments, but sadly I don't think the execution is quite there.

The various guitars sounds are quite mismatched through the track. The first one sounds quite muffled, then at 24s it jumps to a much lighter and airier sound, then at 24s its a different sound again with less width. The final chord is also a different instrument and sound. I can't help but think that such inconsistencies will lead to a return. We never hear those things in commercial music or on TV soundtracks, so I don't think screeners, library owners or TV producers would accept it.

Other things I noticed include the bass sitting wide left, which is slightly unusual but not totally out of context. The hangover fiddle notes at 1:10 are a little unnatural, but that's another of the problems with using phrase-based constructions. Also, when the very light percussion sitting wide left crept in during the last section I thought its was an audio crack at first. Maybe some different percussion would have sat better.

They're only my opinions though. See what other say.

Telefunkin, you have an amazing ear for reviewing music production. I didn't notice any of what you picked up until I went back and listened
to it again after reading your comments. Then it all just magically appeared.

-Stu

Thank you all, both for your encouragement and for your astute critiques. +1 on Stu's comment and back to work!
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Michael and Sharon

attempting to incorporate various suggestions ...

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>Underscore III<
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earpinions earnestly earppreciated!

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Michael and Sharon

irthlingz wrote: ↑

Thu Jul 29, 2021 11:06 am

attempting to incorporate various suggestions ...

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>Underscore III<
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earpinions earnestly earppreciated!

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Michael and Sharon

Not found

AlanHall wrote: ↑

Thu Jul 29, 2021 7:54 pm

Not found

Sorry about that, Alan. Typo in the URL. It's good now.

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Michael & Sharon

Stubee wrote: ↑

Thu Jul 29, 2021 4:33 am

Telefunkin, you have an amazing ear for reviewing music production. I didn't notice any of what you picked up until I went back and listened
to it again after reading your comments. Then it all just magically appeared.

-Stu

Thanks very much indeed for the compliment Stu. Sadly, its not at all true. There are many people on these forums who are far better at listening to detail than I am. Then there's the screeners who are really good at it. Then there's library owners who listen to loads of great music every day (and many of them are musicians and/or producers themselves), so they've learned to be very discerning. Probably at the top of the tree are the great music producers and mastering engineers who we accredit with having golden ears.
The good thing is that we can all get better at it with practice. We usually listen for pleasure and we hear the 'big picture', but with a bit of time and effort we can learn to listen more analytically and start to pick through the components. I'm getting better very slowly, so that must mean that everyone else can do it.

That said, I still miss problems in my own mixes! Its so easy to get wrapped up in a track until you no longer hear the truth. Taking a break from your work to listen to something else is vital. Even when you think its done, when you listen the next day its often surprising what managed to sneak into your mix overnight!