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Hey just wondering if you guys could help me figure out how I went wrong more specifically.

I am only including two examples but I submitted 10 tracks, and about 6 or so had the same response, the other 4 I guess couldn't pass through because some other reason I don't know. Screener 416.

This one hurt a bit, I thought that I had really created some movement in these pieces.

THE LISTING:
Lots of RAP/HIP-HOP INSTRUMENTALS and/or INSTRUMENTAL CUES are needed by a successful Music Licensing Company with a GREAT track record of placements in Film and TV!

They’re on the hunt for a range of Instrumentals and/or Instrumental Cues that you’d hear on True Crime shows like Snapped, Fatal Attraction, Unsolved, etc., etc., etc. Please listen to the following references to get an idea of what might work for this request:

https://www.youtube.com/watch?v=8mub__3UVR0

https://www.youtube.com/watch?v=dL3SBBYtbfs

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

IMPORTANT: They would like you to submit at least 5 Instrumentals/Cues! They would prefer that you submit an entire album of 10 Instrumentals/Cues! They like to sign full projects, so we are telling the Screeners working on these submissions to look for top-notch batches. That said, if the majority of what you submit is really strong, but one or two are A-minus, they will likely forward your batch. We can't promise that; but if the Screener thinks the overall project sounds really strong, but hears a couple of minor things that could be fixed, it will likely be forwarded and we'll let the Company reach out to you to suggest what they think would improve your "batch."

Please submit modern-sounding, well-produced Instrumentals/Instrumental Cues that could enhance a wide range of scenes found in True Crime-related TV Shows! They’re open to hearing a bunch of moods, ranging from suspenseful and investigative to reflective/emotional, and hopeful! Please be sure your style and productions sound current when compared to today’s Rap/Hip-Hop sync standards.

TAXI Tip: Stick to a central motif throughout, and give your Instrumentals/Cues a developmental arc that gives the editors some options!

All submissions should be at least 90 seconds in length (give or take). Non-faded, Stinger endings will work best. Please do NOT copy the referenced material in any way, shape, or form. Use them only as a general guide for tempo, texture, tone, and overall vibe. Please avoid any material with unauthorized samples of other artists’ music, sounds, or any other form of media. Broadcast quality is needed.

This company offers an EXCLUSIVE deal. You’ll split any upfront sync fees 50/50. They’ll get 100% of the Publisher’s share, and you’ll get 100% of the Writer’s share. You must own or control 100% of your Master and Copyright. Since this is an EXCLUSIVE deal, please be sure the material you submit for this pitch is NOT already signed with other Libraries or Catalogs. Please submit as many Instrumentals/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 Saturday, May 16th, 2020. TAXI # S200516TC

TAXI # S200516TC

HIS FEEDBACK #1:
What I like most about this song

The originality, the sounds, and the truly great overall uniqueness. I hope I can forward more of your music at some point.

I think you could improve this song by

The shakers at the beginning (and throughout) are a little bit much.... (too loud and the pattern is too busy) one shaker playing a concise 16th note pattern would suffice. The intro on this is a little too long and this whole cue needs more defined sections. Again, I truly appreciate the originality and the ideas, but this needs some better structure from start to finish. The ending stops too abruptly.

I returned or forwarded this song because

This needs some structural revision: More defined, distinct sections, each one adding/subtracting a layer, more thematic content, less repetition, and a more thought out, composed ending that resolves in some sort of dramatic fashion.

TRACK #1:
https://www.taxi.com/members/MtPAEZZpTg ... Vl05A-lurk

HIS FEEDBACK #2:
The sounds, the approach, the ideas and the overall production are all good. I like the lead synth/theme line on this, it's very good.

I think you could improve this song by

Your lead synth line is very good on this, but overall, this is too repetitive and needs more layers/alteration and variation. The groove needs to be varied as well. Always avoid repeating sections "As is" without adding another layer/instrument/sound.

I returned or forwarded this song because

This theme and groove are too repetitive. It needs some alteration, variation or another section altogether.

TRACK #2:
https://www.taxi.com/members/MtPAEZZpTg ... der-weapon

If you listen to the REFS they are pretty repetitive themselves... also Hip Hop is a loop based music. I just find it hard to understand the feed back vs the refs...

PS I hope all my links work this is my first post in the forum.

EDIT: hopefully the links to my tracks work now
T

CTWF wrote: ↑

Mon Jun 15, 2020 11:57 am

Hi

The links don't work even though I am logged into TAXI.

Regarding references that would never make it past a TAXI screener: would-the-references-even-get-forwarded-t145308.html

Tom

See if they work now! thanks!

CTWF wrote: ↑

Mon Jun 15, 2020 1:31 pm

I did not listen to the references, those shows, and had not submitted anything myself. To me both cues sound fine. Yes, repetitive, but as you wrote, so many of the refs are that I am a little tired of this comment if it is not overbearingly repetitive. I can see the "shaker" comment on the one track, that it was a little too busy. End too sudden, mhh, not sure about that either. Mabye you could have prepared it a little, yes.

Tom

Hmm alright thanks for listening. That other post you linked was helpful too. Still kinda disappointed. I need a clearer explanation.

I feel your pain man... they sound varied enough, especially the first one... adding more variety I'd be afraid of a "doesn't stick to a single motif throughout" comment. The only thing I agree about is the ending. Are you sure these were the tracks you actually submitted? I mean, coxnvox submitted a kid's song as a Journey cover a few days ago...

Zaychi wrote: ↑

Mon Jun 15, 2020 2:04 pm

I feel your pain man... they sound varied enough, especially the first one... adding more variety I'd be afraid of a "doesn't stick to a single motif throughout" comment. The only thing I agree about is the ending. Are you sure these were the tracks you actually submitted? I mean, coxnvox submitted a kid's song as a Journey cover a few days ago...

I saw that, I could see how that would be an easy mistake to make... But I am pretty sure I did everything correctly and the past submissions folder shows the correct songs.

Whats a shame is that I submitted 10 tracks, and they loved like 3 of them, and 5 or 6 had this same critique. In the end it was "all or nothing" type listing.

Oh well back on the horse, but with more confusion.

Hey tmasterp,

Trap is loop based, but there still needs to be a lot of development. I just listened to the first reference track in comparison to your first one and there are quite a bit of differences in regards to how it comes together.

It might be worth really immersing yourself in the genre to start picking up on all the nuances you are lacking. You could also try studying the references even more and possibly writing down a detailed list of things you notice to get you closer. I think a lot of people downplay the complexity of trap and other similar genres, but there actually is quite a bit of stuff to get right in order for it to be believable.

Finally, if all these suggestions sound like a pain and unejoyable, I’d say skip to a genre you are passionate about. If digging in and stretching your composing and producing skills to meet the challenge sound difficult but still enjoyable, I’d say keep working hard and you’ll get there eventually!

Andrew

ResonantTone wrote: ↑

Tue Jun 16, 2020 9:41 am

Hey tmasterp,

Trap is loop based, but there still needs to be a lot of development. I just listened to the first reference track in comparison to your first one and there are quite a bit of differences in regards to how it comes together.

It might be worth really immersing yourself in the genre to start picking up on all the nuances you are lacking. You could also try studying the references even more and possibly writing down a detailed list of things you notice to get you closer. I think a lot of people downplay the complexity of trap and other similar genres, but there actually is quite a bit of stuff to get right in order for it to be believable.

Finally, if all these suggestions sound like a pain and unejoyable, I’d say skip to a genre you are passionate about. If digging in and stretching your composing and producing skills to meet the challenge sound difficult but still enjoyable, I’d say keep working hard and you’ll get there eventually!

Andrew

Thanks for listening. And for the advice on approach. I realize that the two tracks I posted are different from the refs. I suppose my confusion lays in the development comments. I will continue to tweak my process. Do you have any tips on how you keep loop based music from becoming repetitive?

Thanks Andrew,

T

I wouldn’t get too discouraged, these are great! I was lucky enough to get some forwards on this listing but haven’t heard back from the Library or anything, so it looks like I’ve got some growing to do as well.

The way I think of it is that the references are for style, not structure. They are repetitive because they have to be in order for the listener to be able to focus on the vocal.

To figure out structure just check out the forwards here on the Taxi website or visit a production library and listen to tracks that are already signed.

I basically switch things up every 4 bars. I try to imagine the track under dialogue and make the changeups obvious enough that I would be able to detect them even when mixed in with other audio.

Some techniques I use for guidance are

- building everything around a chord progression that I can change up in the “bridge” if I want.
- dropping the kick
- dropping the 808
- killing the hat
- changing the kick pattern
- using the plugin Halftime to create a totally different melody that’s closely related to the main melody
- creating a buildup with a riser and a snare for a big stinger ending
- creating a “super full” section that I know will go at the end and then taking parts away to build the other sections.
- adding some edit points where everything drops out for a second.

All of these techniques are little variations that you can mix and match. In combination they can have a huge effect but still make the track feel cohesive.

I’d say it took me about 30 - 40 tracks to iron out the kinks and of course I’m still trying to improve every day. I guess I just wanted to encourage you to not be confused. We’re headed down the right path we just have to keep walking.

Check out some libraries, map out some sections and you’ll find that extra 5% you need to push your tracks over the top. Repetition seems to be linked with our unconscious minds because I didn’t really think my way over the hurdles I’ve cleared, I just kept showing up and it happened. You’ve got tons of talent, go ahead and be floored! The screener wants to forward you! Hell yea