TAXI.com

I don't mind admitting when a screener makes the right call and returns something, even if it takes me a bit to understand why, But I don't get this one.

Listing:


AFRICAN-sounding INSTRUMENTAL CUES are needed by a rapidly growing, European-based Music Licensing Company with a very long list of great placements in Film and TV. Give them well-crafted, rhythmic Instrumental Cues in All-Tempos that have either a traditional African sound, or something that combines traditional instrumentation with something more modern. Quoting the source: "We are looking for music for our 'African' library album. Absolute highest quality sample libraries/production only, bad or unconvincing MIDI sounds when replicating live instruments won't work for us. Music can be at any tempo, but must evoke an African feel, suitable for documentaries about the many parts, aspects, and cultures of this region." All submissions should be at least 2 minutes long with easy edit points and natural, non-faded, buttoned endings. Do NOT copy or rip off the referenced artists' in any way, shape, or form. Use them only as a guide for tempo, texture, tone, and vibe. Broadcast Quality is needed (Great sounding home recordings are fine). This company offers an EXCLUSIVE 50/50 deal, and an 80/20 split in the Writer's favor for any applicable download fees by clients from their Library! Please be sure the material you submit for this pitch is NOT already signed with any other Libraries or Catalogs. 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 one to three Instrumental Cues online or per CD. All submissions will be screened on a Yes/No basis - No full critiques. Submissions must be received no later than 11:59PM (PST), on Wednesday, January 6, 2016. TAXI #Y160106AI

Feedback: "Nice percussion here with some good musical moments. However, some of the other elements like the bass and synths sound a little out of place alongside the percussion. This is creating more of a mixed aesthetic that isn't quite on target"

Track is 'African Vista' on my taxi page.

I know a lot about various types of African music (which might be my problem), and actually was pretty conservative about sound choice on this track compared to what real African artists would do, since they wanted stuff that would work for docs and the like. African artists use synths and electric bass, percussive harmonics, funk bass parts, etc. all the time, and have done for many years.

Anybody hear other problems for using this track in a doc that I'm deaf to? There must be something really off about it that I can't hear.

Listening now.. great start, great feel! Love this track so far.

A ha...

I think the bass and vocals take the song into a different genre. The listing specifically allows for "something that combines traditional instrumentation with something more modern", but this might be a little too Weather Report for the screener.

I think it's a kick ass track.

It works, but yeah, guess it wasn't what they were looking for.

An opinion:

sometimes these libraries can be looking for something that fits the "American or European idea of what music from those countries sounds like" so it might be considerably light on actual traditional forms, or certain instruments as long as it fits what most people would call "African". Like Paul Simon. It might be backwards to people who really know, but I bet you could poll some people about "graceland" and it would tick the boxes for them.

Like in my mind - stuff that has a 12/8 or especially 6/8 feel screams African even though that might be a small subset of that actual range of music. Also Afrobeat....

A couple years back I scored a documentary that was filmed in Liberia - and I had a range of tracks artists from Liberia and neighboring lands to sift through to see whether any of it fit. And I hear a lot of what you were talking about Jonny - lots of bright in your face bass stuff, fretted and fretless occasionally, lots of synths. Synth horns.

anyways.....

Thanks Paul and Andy for taking the time to listen and for the good comments. I definitely hear what you're both saying.

I used to write to (locked) picture a lot, and found it much easier get less-than-completely-obvious music approved, for one reason because your eye and ear are forced to find the 'sense', so long as the music doesn't fight dialog, etc. What I find difficult about writing to a brief (sometimes, like in this case) is that it's like getting your house ready to sell - you have to paint the walls the most neutral shade of beige, not because it looks the best, but because it will be offensive to the least amount of people. Therefore, for Americans/Europeans, all 'African' music sounds essentially the same (12/8, etc.).

I know that if you put my track to picture, it would work for many African scenes, but if you are listening to it in isolation you can find reasons to turn it down. I don't blame the screener - s/he is doing their job. But I don't think this approach is so good for production in general, in the long run, bc everything ends up sounding the same! Instead of composers dreaming up something that supports picture in some slightly new, arresting way, it's *editors* who make the music choices a lot of the time. I was a video editor too, and knew a bunch of them: what editors want is something that 'works' and let's move on. That;s why the same tracks often get used over and over, and also the same *types* of tracks. So every cut on a DIY or HGTV construction show starts with a big drum fill and rock guitars; every cut on a Caribbean travel show starts with steel drums; every spot aimed at a certain target is uke, celeste, handclaps; etc. It WORKS, but...it's kind of like the teacher reading from the same lecture notes for 20 years: after a while, you don't hear it.

Sorry for ranting. I know the business is what it is, and my squealing will change nothing . But sometimes I think it would serve everyone's interest if producers were a little more careful about what they wished for, so to speak. That is to say: it can be quite limiting to know exactly what you want, because then all you will ever get is that.