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I liked the 2nd reference the most so I emulated its style while creating mine. Even if you only have one remark to make, I would love to hear it.

Best,

John Dale

https://soundcloud.com/john-dale-music/ ... al_sharing

LOTS of EMOTIONALLY UPLIFTING ORCHESTRAL INSTRUMENTALS and/or INSTRUMENTAL CUES are needed by an International Music Library with lots of great placements in Film and TV.

This Library is searching for several Mid-to-Up-Tempo Instrumentals (or Cues) in the general stylistic ballpark of the following references we got directly from them:

The Bachelor Trailer [Clayton] (from 0:44 - 1:07)

https://www.youtube.com/watch?v=qk5WXJfckBc&t=44s

"New Dawn" by Mark Petrie (from 0:00 - 1:16)

https://www.youtube.com/watch?v=VI2GJnrjwOc

The Bachelor Trailer [Zack] (from 0:45 - 1:07)

https://www.youtube.com/watch?v=_AoYc6dTiKs&t=45s

Please submit well-composed Orchestral Instrumentals (or Cues) with captivating motifs, engaging arrangements, and plenty of emotionally uplifting energy that could work well for romantic Reality TV shows like The Bachelor. Your submissions can range from sweeping and romantic to a bit more dramatic and driving – just be sure to have plenty of dynamics, forward motion, and interest. Top-notch Orchestral instrumentation in the general ballpark of the references will work best for this request. Please be sure your production is polished and any virtual sounds or samples you use are high-quality, modern, and state-of-the-art.

Your submissions should be roughly 90 Seconds long for Cues, and about 2 to 4 minutes long for Instrumentals, give or take. Non-faded, buttoned/stinger endings will work best. Do NOT copy the referenced music in any way, shape, or form. Use it only as a general guide for tempo, texture, tone, and overall vibe. Do not submit any material with unauthorized samples of other artists’ Songs, sounds, or any other form of media. Broadcast Quality is needed.

TAXI Tip: This Library is looking for a LOT of material in this genre, so if this style is your forte, go ahead and submit multiple pieces to this listing!

This company offers an EXCLUSIVE deal, so please be sure the Instrumentals or Cues you pitch for this opportunity are NOT already signed with any other Companies or Catalogs. Any sync fees will be split 50/50 with the Company. You'll get 100% of the Writer's share, and the Publisher will get 100% of the Publisher's share. You must own or control your Master and Copyright to submit. Please submit as many Instrumentals or 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 Wednesday, February 1st, 2023. TAXI # S230201TH

Hi John. Nice work! I like what you've created here. In general, a good strategy is to identify any commonalities between all 3 references rather than going for just one, but I'd say you've captured the flavour of the 2nd one. I have a few subjective comments on tweaks you might make, so take what you can use and go with you instincts.

I like the way the ostinato creeps in, but for me it gets just a little in the way of the melody when it reaches full volume. Perhaps you might also add a bit of gentle ebb and flow in its volume as appropriate.

There's something about the lead strings that sounds a bit synthetic. Its hard to get 100% reality with samples but use all the tricks you can to get them sounding more authentic. For me they work better in their lower range but are less convincing as they get higher. If nothing else, maybe a hint more reverb might help, as long as you don't push them back too far. However, swapping to a different library might get there too. It sounds like you're using an ensemble patch, but maybe using a solo instrument would help the more intimate feel of the early part, then you could introduce the ensemble later. Solo instruments need to be even more convincing though, so be cautious if you take that route.

I'd also suggest being careful with the cymbal swell into a crash. Once I've heard it I can't help but notice when the same sample crops up several more times, but I think its a bit proud and perhaps not perfectly in sync with the track's timing. My tweak would be to vary the swell timings but make sure the crash always hits the beat, and also tuck them in bit more too so they provide an accent without taking over.

I like the false ending, but when it comes in again it hangs on an unresolved chord. My tweak there would be let that chord fade out leaving a single low cello A to give it resolution. Keep it buttoned though.

Whatever you take or leave, I hope there's something there you can use. Good luck with the submission .

Telefunkin,

Your remarks are most insightful and helpful. I will act to some degree regarding all the points you made. (I thought that placing the cymbal swells "off" the beat and varied kept them from sounding too obvious.)

Again, thanks much for the valued comments and help.

Best,

John Dale