TAXI.com

Guys,

Do you think this drone of mine is suitable for this listing...it was previously returned for another drone request, stating I didn't have any edit points or a button stinger ending. This listing does not specifically ask for edit points, so hoping this piece of mine is good to go as it is. (In my opinion it does have a none faded / button stinger ending)

https://www.taxi.com/members/k42FZOv_Sp ... drone-army

Lots of DARK & EERIE DRONES/SOUNDSCAPE INSTRUMENTALS and/or INSTRUMENTAL CUES are needed by a U.K.-Based Music Licensing Company with a strong track record of landing placements in TV and Film that is actively expanding their catalogue to meet increased demand!

This Company is searching for quite a few Instrumentals and/or Instrumental Cues in the general ballpark of these references:

"Perihelion" by Trent Reznor & Atticus Ross https://youtu.be/npFeMDdODi0

"Electric Grounds" by Cryo Chamber https://youtu.be/Sa6JmsemQvQ

"SQUID PRO QUO" by Trent Reznor & Atticus Ross (from 0:00 - 1:35) https://youtu.be/2dT2kW_RDZI

Please send them in ambient Drone/Soundscape Instrumentals (and/or Cues) that capture an overall dark and eerie, vibe and feel. Your submissions should have minimal melodic movement, sparse arrangements, and moody instrumentation that creates an unsettling atmosphere. Including some sparse percussion, pulsing bass notes or pads, or muted, cinematic sound design elements could work as well – just be sure not to over do it! This is more about creating an ambient mood and vibe than winning "Composer of the Year." Please be sure your productions are well-balanced, and any virtual sounds or instruments you use are of high quality and not dated-sounding.

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. Please do NOT copy the referenced artists or songs in any way, shape, or form. Use them only as a guide for tempo, texture, and tone. Do NOT submit any material with unauthorized samples of any other artists’ music, sounds, or any other form of media. Broadcast Quality is needed.

This company offers an EXCLUSIVE deal, so please be sure the Instrumentals and/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 Masters and Copyright to submit. Please submit as many Instrumentals and/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 (PDT) on Friday, June 23rd, 2023. TAXI # S230623RE

Many thanks,
Glenn

Asking for edit points in a drone is a little picky to me... they can be hard to sneak in, it depends on how thick and busy the drone is.

After listening to your drone versus the three references, the first thing that comes to mind is that yours sounds like a single patch with some filter sweeps or EQ modulation being added. The first two of the three references are also simple, but to my ears I can hear at least two or three different things going on in them, while yours sounds like a single patch. (the third reference has much more going on). Try giving the first two references a closer listen with headphones on and see if you can hear the subtle changes happening... it is just enough to create some interest. I think you might be close if you were to add another layer to your existing track and work on blending them properly.

Paulie wrote: ↑

Mon Jun 05, 2023 2:59 pm

After listening to your drone versus the three references, the first thing that comes to mind is that yours sounds like a single patch with some filter sweeps or EQ modulation being added. The first two of the three references are also simple, but to my ears I can hear at least two or three different things going on in them, while yours sounds like a single patch. (the third reference has much more going on). Try giving the first two references a closer listen with headphones on and see if you can hear the subtle changes happening... it is just enough to create some interest. I think you might be close if you were to add another layer to your existing track and work on blending them properly.

Thanks Paulie...It is far from a single patch. There are actually 6 elements in this drone which come from multiple synths.

Please have a look....

https://www.instagram.com/reel/CtJK8pmL ... I4NDBkZg==

tpwmusic wrote: ↑

Tue Jun 06, 2023 1:17 am

Thanks Paulie...It is far from a single patch. There are actually 6 elements in this drone which come from multiple synths.

Please have a look....

https://www.instagram.com/reel/CtJK8pmL ... I4NDBkZg==

I understand... but it's not what it looks like that matters. It sounds like one of many single Straylight or Omnisphere patches with multiple layers in them. There is no counterpoint or variation to my ear, no unique enough elements to create the perception of different instruments or sections.

I think your track ends well, but it takes too long to get going. There is more variety going on in the Perihelion reference earlier, while Drone Army stays relatively simple for the first minute with just subtle changes compared to Perihelion:

Perihelion
0:00 - starts with two gritty high pitch drones
0:20 - two more patches come in, a high frequency and a low drone
0:40 - filter sweep for 20 seconds
1:00 - definite change in sound as some layers fade away
1:30 - some more change
1:40 - more layers change, stutter enters
1:50 - subtle bell/gamelan cluster hits
Things continue to change beyond the two minute mark.

Drone Army
0:00 - starts thick, stereo pad with multiple frequencies
0:20 - Low pass filter kicks in
0:40 - Filter reverses to original sound
1:05 - some newer frequencies appear
1:10 - pulse enters
1:32 - bass pulse enteres
1:40 - nice and busy, good ending density.

Paulie wrote: ↑

Tue Jun 06, 2023 3:55 pm

I think your track ends well, but it takes too long to get going. There is more variety going on in the Perihelion reference earlier, while Drone Army stays relatively simple for the first minute with just subtle changes compared to Perihelion:

Perihelion
0:00 - starts with two gritty high pitch drones
0:20 - two more patches come in, a high frequency and a low drone
0:40 - filter sweep for 20 seconds
1:00 - definite change in sound as some layers fade away
1:30 - some more change
1:40 - more layers change, stutter enters
1:50 - subtle bell/gamelan cluster hits
Things continue to change beyond the two minute mark.

Drone Army
0:00 - starts thick, stereo pad with multiple frequencies
0:20 - Low pass filter kicks in
0:40 - Filter reverses to original sound
1:05 - some newer frequencies appear
1:10 - pulse enters
1:32 - bass pulse enteres
1:40 - nice and busy, good ending density.

Thanks Paulie. I can always rely on you for decent, constructive feedback, and the time you spend on providing it, is very much appreciated.