TAXI.com

Regarding the Dispatch listing below:

I struggle with drone cues because I don't really feel what makes one drone cue "better" than another. For example, the reference track from Trent Reznor and Atticus Ross--I find myself completely unable to appreciate what makes it a good drone cue. But it won a Grammy! However, I can't come close to recognizing the attributes that would make it stand out as the best of the bunch. So when I try to make my own, I can't rely on my own ears. One drone cue could sound as good as the next. But one wins a Grammy and the other was random squeals from a shortwave radio.

I assume Trent Reznor and Atticus Ross got the soundtrack writing job because of who they are and for their ability to attract their fanbase to the movie. The music they wrote in collaboration with the director synergistically created a work that was deemed Grammy-worthy.

How does one write a drone cue in a vacuum for a music library that delights the screener, captures the attention of the library owner, and then causes some unknown listener two years from now to lean in and say "My gosh, I absolutely MUST have that drone cue in my next movie!"?

Thanks,
Art



DARK DRONE SOUNDSCAPE INSTRUMENTAL CUES are needed by a Music Licensing Company with a list of great placements in Film and TV. Please submit subdued, “drone-y” Instrumental Cues that could be featured along with the works of Trent Reznor & Atticus Ross, Hans Zimmer and Charlie Clouser. Listen to the references below to get an idea of what they’re looking for:

“Perihelion” by Trent Reznor & Atticus Ross:
https://www.youtube.com/watch?v=npFeMDdODi0

“Imperfect Lock” by Hans Zimmer:
https://www.youtube.com/watch?v=BJdQnRdVaU0

“Open Eyes” by Charlie Clouser:
https://www.youtube.com/watch?v=4cz5qH96nfI

Submit subtle and textural Instrumental Cues with very little, to no melodic movement. Give them droning soundscapes that deliver a moody and ominous feeling, as instrumentation weaves in and out, to create a seamless piece of compelling underscore. You should stick to a singular motif throughout the entire cue to keep your submission emotionally cohesive. Your submissions can have subtle, non-tonal elements illustrated in modern cinematic sound design, or even the addition of some percussion as heard in the references. Don’t go crazy! Be sure to keep your Cue fairly simple, which is ultimately what this pitch is asking for.

All submissions should be at least 2 minutes long, with non-faded endings with a natural decay/ring out are recommended. Do NOT copy or rip off the referenced music in any way, shape, or form. Use them only as a guide for texture, tone, and vibe. Broadcast Quality is needed (Great sounding home recordings are fine).

This Company offers an EXCLUSIVE agreement with a 50/50 split. The specific terms of this agreement will be determined directly between you and the Library. Because this is an Exclusive deal, please submit music for this pitch that is not already signed to any other Libraries or Publishers. You must own or control your Copyright and Master recording. All submissions will be screened on a Yes/No basis. No full critiques. Please submit 1-3 Cues online or per CD no later than 11:59pm (PDT), on Wednesday, August 24th, 2016. TAXI #D160824DS

Great question...since I just attempted my first drone cues, I also would like to know what the experienced droners have to say about how to make it GREAT and stand out to the screeners...

I assume it's texture that makes it good. The design of new sounds. Sound art.

I admit the Zimmer piece puzzles me. How is it considered a drone? I would have thought it was tension or drama, or percussive.

Here is what I signed with a top Library yesterday if it helps your question...
I sent the first mix, they replied wanting a slight change, I instantly changed it, here it is...
Pulsing Drone: https://soundcloud.com/robert-cass-mcen ... tting-dark

Wouldn't have happened without Taxi and prior Collaborations with Dan Luedke (who got us into and helped me with the library upload procedures)
Dan Rocks!!!

cassmcentee wrote:Here is what I signed with a top Library yesterday if it helps your question...
I sent the first mix, they replied wanting a slight change, I instantly changed it, here it is...
Pulsing Drone: https://soundcloud.com/robert-cass-mcen ... tting-dark

Wouldn't have happened without Taxi and prior Collaborations with Dan Luedke (who got us into and helped me with the library upload procedures)
Dan Rocks!!!

nice cue fellas!

Vikki, I agree with you, the Zimmer cue is not really drone music.

Thanks for the real world example Cass, that gives me a sample of something marketable. And congrats on signing it!

My favorite quote from my web research on this topic is "the mission of the drone musician is, ostensibly, more to challenge than to please."

Don't know how far I'll get if I set out to challenge the screeners.

cassmcentee wrote:Here is what I signed with a top Library yesterday if it helps your question...
I sent the first mix, they replied wanting a slight change, I instantly changed it, here it is...
Pulsing Drone: https://soundcloud.com/robert-cass-mcen ... tting-dark

Wouldn't have happened without Taxi and prior Collaborations with Dan Luedke (who got us into and helped me with the library upload procedures)
Dan Rocks!!!

Great cue! Thanks for the great example. I now see why my first one may not be dark enough. I based it on the zimmer one as far as style. Fingers crossed it squeaks thru

Drones generally stay on a single note for the bass... this is the foundation of the Drone. In some of these a'las you can hear the bass note change, but it doesn't do so as part of a "chord progression" so much as just changing the note that is held over a long period of "measures". This creates the darkness or danger feel of the drone.

Then you will have other near-chordal elements that support the feel of darkness or danger... unless it is "soundscape" drones... in which case the near-chordal elements must bridge the gap between darkness/danger and mysteriousness.

This listing is for a specific type of Drone Cue. They want "soundscape" in there too.

So you will have other ambient elements in these "soundscape" drones that add the mysteriousness.

All the parts will be very ambient for "soundscape" drones and there will be interesting fx that you must not make too startling because that will get in the way of the editor's job.

Some pulsing in the elements can also be useful as long as they don't make the cue sound too much like it is "based" on rhythm.

A lot of elements in a Soundscape Drone will be atonal. And the ones that play actual notes, will usually NOT have a major third and usually WILL have a lot of augmented or flatted notes that shouldn't belong in a regular chord... not only that, but the "chords" won't generally have more than two notes other than the root. Half-step dissonance is very useful for these kinds of cues, specially if they are not two notes played a half step apart on the same instrument.

The trick to making Drones sound really good is to bring the elements in and out while still keeping the mix balanced. (except the bass part which usually stays pretty constant) In a lot of cases, some of the elements you bring into the Cue to keep it interesting may only come in for a few moments in one place.

Just keep in mind that these kind of cues have to evoke a "feeling" Pick one or a blend of emotions. These emotions will tend in the realm of darkness, danger, mysteriousness, mistiness, psychedelic, doom, space, underwater, etc.

Hope this Helps

Russell Landwehr

Russell nailed it.

Think of drones as a musical meditation. Ommmm... Ooooommmmmmmmm...

Simplicity is the goal.

Russell Landwehr wrote:Drones generally stay on a single note for the bass... this is the foundation of the Drone. In some of these a'las you can hear the bass note change, but it doesn't do so as part of a "chord progression" so much as just changing the note that is held over a long period of "measures". This creates the darkness or danger feel of the drone.

Then you will have other near-chordal elements that support the feel of darkness or danger... unless it is "soundscape" drones... in which case the near-chordal elements must bridge the gap between darkness/danger and mysteriousness.

This listing is for a specific type of Drone Cue. They want "soundscape" in there too.

So you will have other ambient elements in these "soundscape" drones that add the mysteriousness.

All the parts will be very ambient for "soundscape" drones and there will be interesting fx that you must not make too startling because that will get in the way of the editor's job.

Some pulsing in the elements can also be useful as long as they don't make the cue sound too much like it is "based" on rhythm.

A lot of elements in a Soundscape Drone will be atonal. And the ones that play actual notes, will usually NOT have a major third and usually WILL have a lot of augmented or flatted notes that shouldn't belong in a regular chord... not only that, but the "chords" won't generally have more than two notes other than the root. Half-step dissonance is very useful for these kinds of cues, specially if they are not two notes played a half step apart on the same instrument.

The trick to making Drones sound really good is to bring the elements in and out while still keeping the mix balanced. (except the bass part which usually stays pretty constant) In a lot of cases, some of the elements you bring into the Cue to keep it interesting may only come in for a few moments in one place.

Just keep in mind that these kind of cues have to evoke a "feeling" Pick one or a blend of emotions. These emotions will tend in the realm of darkness, danger, mysteriousness, mistiness, psychedelic, doom, space, underwater, etc.

Hope this Helps

Russell Landwehr

Wow Russell just dropped some serious knowledge on us! Thanks Russell that's some really valuable information. Gobbled it all up!