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Hello All,

The below Dramedy cue was returned and I would appreciate some input. I submitted it to a dispatch listing.

https://soundcloud.com/bill-kafka/sleep ... ty/s-CgXpH

Per the screener, the reason this was not forwarded was "stylistically off target". I thought the cue was on target. They also stated, "Would recommend updating synth horn, string and glockenspiel sounds to a more authentic and contemporary variety so as to get this closer to examples given in listing description". I did not use a horn in this cue. I did use a clarinet (Yamaha Motif Rack XS) and accordion (Hammond SK1). The pizzicato strings were from LASS first chair (which I thought was authentic). The glockenspiel was from Nanosampler in Digital Performer 7. I previously had 3 different dramedy cues forwarded within the last year (5 times for 1 cue, 2 times for another cue, and 1 time for another cue) using the same sound template. I know the Yamaha Motif Rack XS and Nanosampler is dated but should I purchase a different string library and maybe layer with the LASS first chair? Since I have had some forwards with this genre, I would like to do whatever it takes to sound more authentic and contemporary. I really appreciate any input. Below is the listing.

DRAMEDY INSTRUMENTAL CUES are needed by a European Music Library with lots and lots of great placements in Film and TV. This company has just started running Listings with TAXI. It’s very unlikely that you’ve got music in their catalog, so this is a killer opportunity to get in on the ground floor! They’re looking for Mid-to-Up-Tempo Instrumental Cues that would fall in the general stylistic wheelhouse of the following examples: “Long Island Medium” (0:00 – 0:15) https://www.youtube.com/watch?v=_JBdrFhK7qs Will Dives In from “The Little People” (0:00-0:55) https://www.youtube.com/watch?v=RSnuEbcaOY0 “Project Runway” (:23 - :47) https://www.youtube.com/watch?v=YIukd6qvpu4 TAXI Tip: They would love to hear quirky Instrumentals that use pizzicato strings and marimbas! Please send them well-crafted Instrumental Cues that fall within the range of the Dramedy spectrum. Be sure to build your Cue around a central melodic theme or motif, and keep it dynamic and forward moving by layering other instruments in and out as your piece progresses. Avoid submitting anything overly busy, as it could interfere with a scene’s dialogue. NOTE: Most Music Libraries today have plenty of Dramedy Cues. Feel free to get slightly inventive and send them material that’s a little more original and different, but nothing too radical. Your submissions should be at least 2 minutes in length. Non-Faded, Buttoned/Stinger endings will work best for this pitch.

Hey Bill,

Had a quick listen.

To me - there are two vibes for dramedy
1) spooky, suspenseful, playful (refs 1 and 3)
2) happy, goofy, playful. (ref 2).

based on your piece I would say you went for option #2 like the second ref.

The way your melodies and sounds are employed makes them a little naked.

The LASS stuff is great - the first chair is only a solo violin and most of these type cues feature a section that you would find in LASS lite or full.

The other sounds - well you already know you are batting with low percentage stuff. Some people with experience use that stuff and it sounds great. Its all in the ear less in the gear.


Some choice words from the listing:

TAXI Tip: They would love to hear quirky Instrumentals that use pizzicato strings and marimbas!

This is the textbook definition of dramedy really.

build your Cue around a central melodic theme or motif, and keep it dynamic and forward moving by layering other instruments in and out as your piece progresses

You can think of your cue as being either just A, A, A, A or possibly A, B, A, B.

In either case, you can't vary much from the original motif / sound otherwise your cue can go into a different style / feel / emotion.

when you go into your B section - with the swing snare drum brushes, for me it gets into another genre. It doesn't feel like dramedy anymore. Some other things that might work instead are building a percussion part that gets a little more dense in the B section. Things like vibraslap (not joking), triangle, shakers etc can be enough for the percussion. Maybe some timpani - that sort of thing. Just one extra part every 4 bars, or ever just a denser pattern can be enough.

Avoid submitting anything overly busy, as it could interfere with a scene’s dialogue.

This might be as important as anything else. In some ways production music is artful wallpaper - its got vibe that identifies it as a genre. Its got enough interest and a dynamic curve that allows it to support shorter or longer scenes. Its got some distictive sounds and parts - but it also doesn't call a lot of attention to itself.

If an editor has to bury the cue so low as to not stomp on dialogue as to make it almost inaudible, then they will likely just choose another cue.

Listen to the first ref at 0:03 - 0:06 - hear how its a nice balanced sound with not high frequency stuff poking out? There are some pizz strings, some marimba, maybe some triangle low in the mix.

Now listen to your cue with the volume WAY down almost inaudible so its about the same level as the music in the youtube ref. What do you hear? Strings are very low to me, and the other instruments are much higher in the mix. Having a bigger string section, using more stereo landscape, or bringing the focus on to the strings in lower registers is going to help keep the vibe and the focus out of the dialogue range.

Listening low at almost inaudible level, and listening to your cue under dialogue can give you a good idea whether it pokes out or supports the scene without drawing attention.

Like one possible way to imagine it:

0:00 - 0:09 - start with basses and cello. Maybe just playing the chords
first repeat - add melody in celli
2nd repeat - add melody in viola etc. Try playing a little lower in the velocity range on LASS so the sounds are warmer and fatter and not so cutting. Add some judicious hall reverb. Focus on a nice stereo soundstage
next repeat - add some spare percussion, also playing lower in the velocity range, with nice juicy space on it.

You can probably draw out this approach for at least 0:30 - 0:60 seconds. After 0:60 maybe you go to B, or maybe just stay on A section and keep adding layers, and changing the octaves that stuff plays in.

Your immediate choices can include from least change to more drastic change:

double at same pitch
double at same rhythm
double octave up
double with slightly different rhythm or melody contour (counterpoint)
replace at same pitch
replace octave up
add new mostly new melody or rhythms (counterpoint by making things dense).


I get that you are saying that you had other forwards with the same production palette, but I think its the ideas and the writing that are going to matter more in this case.

Hope the ear helps!

Hi Andy,

I really appreciate the listen and the very detailed analysis and advice. It's always great for another set of ears. All of the points you made are great. Going forward I will play my cue at an almost inaudible level. You are correct, the strings in my cue were way too low when played at a very low level and everything else was in the forefront. Limiting the velocity ranges of the parts is also great advice as well as maintaining a balanced mix. I originally bought the LASS First Chair to add a solo string part to my piano pieces before I even thought about writing dramedy cues. I will start researching LASS Lite and other string ensemble/orchestral libraries. It will be a good investment as long I buy what I need and learn how to properly use it. I know simple is better for cues and sometimes I try to get too creative forgetting the purpose of a cue. I decided to create a short, concise cheat sheet to post near my computer when composing cues to remind me what's important. Thanks again for your input, time, and set of ears.

Great advice and education. I'm new and thank you....