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I’m having trouble with the phrase “club worthy” in this listing. I think that it’s referring to the synth sounds and production mentioned later in the sentence. But, there’s a part of me that wonders if it also applies to the structure/arrangement of the track. The reason I wonder that is because the arrangements of Dubstep tracks for clubs usually have long intros and breakdown sections. But, that runs contrary to the typical way a library track is arranged.

Perhaps I'm over thinking it. But I thought I should get some perspective. Any advice would be appreciated.

Thanks,

JJ

NEW LISTING -- DUBSTEP TRACKS with or without vocals, a la Basstiraden, Callan Maart, Butterfly Crash, etc., needed by an Independent Music Publishing company that pitches daily to Music Supervisors. Your track must sound authentic and club worthy, with current synth sounds and top-notch, contemporary production! They're requesting that tracks be "easily editable, 2:00-4:00 in length, and convey a unique edge in style." If vocals, or vocal samples are used, they need to be universal in nature to fit a variety of scenes, and they must be clearance free! NO expletives, please! You must own or control 100% of your master recording and publishing. Broadcast quality needed (excellent home recordings are fine.) Please submit one to three tracks online or per CD, include lyrics (if applicable.) All submissions will be screened and critiqued by TAXI and must be received no later than Friday, June 10, 2011.
TAXI # S110610DB

I take "club worthy" to mean: "As one would hear in a club if they went out tonight" and "Something that would make folks in a club want to get up and dance". I still think you would want to structure it more like a library piece while still holding true to the aesthetic of the style. If the style uses long intros, you still might want to make yours a bit shorter or start with the "chorus" and put the intro in the middle of the piece as a "breakdown" section, possibly. It's always good to come out "swinging" so to speak, because these busy folks may not listen more than 10 or 15 seconds into a track. They need to get a good handle on it right away. If they like it, they'll continue on. Grab them first and then go into some other stuff, IMO.

I would pay close attention to the term "editable". This is very important in library music and since they mentioned it, I'd take it seriously. A stop or two in musically appropriate places with a nice transition into the next section (the transition could also be thought of as a short intro, like a swipe, for instance). You could almost consider the sections of the piece to be little pieces in their own right but still musically related to the other sections so it hangs together as a piece. Often I'll do a little "ring out" and go to complete silence for just a very very short time, and then back in, even if I have to put a half bar in there. The short silence (and I mean even as short as a few samples) is just to give the editor a nice point to cut on if they zoom in. That way they have a clean intro to the section. But don't wait for a really long reverb to finish because it may translate as a full stop if they aren't listening in a quiet studio or office or watching a waveform display. It has to be musically and tastefully done.

I'm not up on this style, although I know it's popular these days. I think if you can give them some related but contrasting sections that are cuttable and loopable with a cool build and ending, you'd be on the right track.

Good luck!

Mazz

Thanks, Mazz. Very helpful. Appreciate it!

JJ