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I received two returns today from #399 for the cue below.

https://soundcloud.com/artturnermusic/c ... the-fallen
Comments: "Could use more sectional contrast and dynamic range between sections"
"Other" is checked.

https://soundcloud.com/artturnermusic/dishonored
Comments: "This cue has more of a drone-like effect with the string pad, could use a more identifiable and recognizable melody. "
"Other" is checked.

My rant: NONE of the references listed have wide dynamic range and NONE have a recognizable melody. The listing used phrases like "subtle," "bed of uneasy tension," and "serious, slightly unsettling vibe."

I thought I had nailed it with these. After a string of forwards, this feels too much like going backwards.

Help me get the proper perspective on this. Thanks!


TENSION-BASED UNDERSCORE INSTRUMENTAL CUES are needed by a successful Production Music Library that’s signed and placed lots of music for TAXI members. They’re on the hunt for suspenseful, minimalistic, Down-to-Mid-Tempo Instrumental Cues that you’d hear in tense moments in shows like How to Get Away With Murder, Quantico, The 100, etc., etc., etc. “Connor & Oliver” How to Get Away With Murder (9:02 to 10:36): https://www.youtube.com/watch?v=JRu4gtQfmeU “Turn” Quantico (0:43 to 1:31): https://www.youtube.com/watch?v=4i616OU3SVM “Fallen Scene” The 100 (0:00 to 1:13): https://www.youtube.com/watch?v=cJV1ext0sRE Please submit subtle, tension-filled Instrumental Underscore Cues that use fresh, current sounding samples and production techniques to deliver a well-crafted bed of uneasy tension. Be sure your Cues deliver forward movement with the layering of various elements and instrumentation to keep them from sounding too linear or one-dimensional. As always, please avoid submitting anything that’s frenetic, stiff, and MIDI-driven. Imagine the music used to bring a serious, slightly unsettling vibe to a scene. That’s what they’re looking for! Your submissions should be at least 2:00 minutes in length, with easy edit points and Buttoned/Stinger endings. Do NOT copy or rip off the referenced music 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 Library offers an EXCLUSIVE, 50/50 split. You’ll get 50% of any applicable sync fees and 100% of the Writer’s share. The Publisher will get 50% of the sync fee and 100% of the Publisher’s share. Do not submit any material for this pitch that is already signed to any other libraries or catalogs. You must own or control your Master and Composition to submit to this pitch. Please submit one to three Instrumentals 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 Thursday, April 21st, 2016. TAXI #U160421TU

Hey Art, those are both great pieces!
I don't have a clue, unless they wanted some modern production techniques (step filters/stutters/filter sweeps?)
Let's keep an ear out for the ones that were forwarded...
That's the only way I would be able to deduce the query.
Sincerely,
Cass

Had a return on this listing too after a forward last time out on a similar listing.

I think what I'm learning is there are sub-genres in these Tension Listings, and listening to your tracks the screener is right, they are more drone like than the reference tracks.

What I noticed is the same synth bass note runs from start to finish of your Cues as well as a limited pallete of instruments giving them an air of monotony overall. There's no light and shade and it makes the them feel a little repetitive.

I think first get rid of the droning bass if you aren't submitting to a drone listing. Maybe try something with more of a pulse and play more than one note all the way through. Try giving each section it's own distinct feel by using more varied sounds.. They can still be subtle but weave then in and out. You can see just by looking at the waveform that it's all kinda on one level with no peaks or troughs.

Hope that helps

Mark

https://youtu.be/JRu4gtQfmeU?t=9m2s
https://youtu.be/4i616OU3SVM?t=43s

The links above are the same, with only the starting times changed, it helps me if I want to take a second listen.

The degree of tension? I would consider your pieces as Dark tension and the examples as light tension?
Great compositions by the way!!
Immediate danger vs not as much immediate danger if any.

I've had returns for that exact reason as well. After going back you sometimes here a brief piano theme, or some melodic hints. Often there are none, which sometimes makes me wonder of the screeners have listened to all three a las or if they are coasting on general knowledge of the genre.

Thanks to each of you for your thoughts on this. These are already in the queue for a couple of other listings, so I guess I'll see how those turn out before revising anything.

I've noticed sometimes the underscore examples (youtube links) don't exactly match up with the description of what is being asked for--ie a 'theme' being developed with different instrumentation'. sometimes the examples evolve through different sounds/arrangements but don't actually have a theme or melody (for example).

(shrug)

This is a fairly common question, I think, and one that could maybe benefit from an in-depth Taxi TV.

The listings often talk about a single melodic motif when the references often don't have one - or at least not in the conventional (or at least obvious to me!) sense. As someone said above: there are often more melodic hints than motifs.

I've also seen the reverse, where more minimal / ambient / drone-like cues have been forwarded but the references were more obviously dynamic and melodic.

Part of the problem may be that the listings seem (understandably) to be based on a template. I know from my legal work that it's easy to fill in the blanks on a template without reading the whole thing to see if it makes sense (particularly if you're in a hurry) and I wonder whether that contributes to these oddities.

Or - and I think this is more probable - I wonder whether it just comes down to the fit for the project. The listing and references are great guides, but aren't going to be as definitive as the screeners' ears.

It is my understanding that whatever the listing says would take precedence over anything in the references. The references would only be for mood or style. If the listing says, no lyrics, even though the ala might have lyrics, you don't submit a piece with lyrics. If the listing says guitar piece, even though an ala might be a piano piece, you don't submit a piano piece, you submit a guitar piece.

The gray areas are maybe a little more confusing, when the listing gives you freedom. For example, if a listing says all instruments and arrangements are okay, my guess is that all instruments from the alas might be included, even though maybe only one had a sax, only one had a trumpet, and only one had a piano,lol! The question might be how it affects the mood or style, turning solo moods into a full orchestra, changing the mood.

Add to this the fact that words mean different things to all of us ... for example, there was a solo piano listing that included this quote from the supervisor: “I’m looking for calm, emotional, intimate, and reflective Piano Instrumentals that have a modern concept and production. The music should be able to support and play under very touching scenes."

My submissions were returned because "They are looking for more sensual, romantic music for this film."

When I read calm, emotional, intimate, reflective, and touching, I thought "loved one dying from cancer," not "sensual, romantic." :/