really hoping to get some input on content and production quality. thanx

[jose Charlie]

[BEATSLINGER]

It’s Gorgeous. I would keep it really simple. Introduce supplemental Strings that play the same lead melody part, about 4 measures in. (But not all the way thru the track) At 8 measures. I would put “Pads and Lush Strings that are not too bright”. Add a “Glock” or Bell that follows the Main melody to give it somewhat of a “Hook”. End going back to about 4 measures of Music Box sound by itself.

I would add no drums, no Sound Design (unless it was like birds, and naturals sounding efx) No Timpani’s, etc.. Just keep it simple.

Just thoughts..

[jose Charlie]

thank you so much for your thoughts beatslinger!! I never thought about adding backgrounds or pads – and i see what yer getting at with opening and closing with just music box, might really enhance the arc. it’s interesting because lately i’ve been thinking about re orchestrating it in a more symphonic style with oboe lead — adding bells to that could really be the ticket. yer giving me a lot of ideas.

i’ve got this and 2 other pieces in a similar style in P5, but I’ve got a goal of getting these 3 pieces submitted and accepted into Crucial – i understand they are very picky, and production quality (recording quality) has to be TOP NOTCH. I’m feeling better about composition and design, I just really worry about wether sound quality is “broadcast ready”. I’m a newbie, so all the input i can get is awesome – even if it’s brutal.
thank you so much for sharing
jose

[BEATSLINGER]

Stay with the music box, and stay “simple & supportive”.

Don’t get hopes up on 1 Library. Just “look for good suitable homes”.

ALSO, If you are “worried” about sound quality. Just mix them the best “you” can, and then get them “professionally mastered”

Not only will you see what your work sounds like as a”polished & finshed product”. You will now have a “reference” that you can use to match your next mixes (A/B) TO!!

[Roscoe Foderotz]

Nice track that can fit a ton of places.

Elaborating on what BEATSLINGER has said:
As a rule of thumb try to make a change/addition (even if somewhat subtle) every 4 measures. This will also assist in giving you additional edits. For instance, I hear backing strings and a ticking clock along with this track, but that’s just my 2 cents.
And, the “broadcast quality and professional mastering” stuff…That is highly subjective and debatable. I am a award winning professional sound engineer and had things rejected due to supposed sound quality. I have also had things that I consider mixed horribly and they have been placed in film/tv. Don’t get caught up in that game and sacrifice valuable time. As BEATSLINGER stated, mix it the best you can and I will also add here mix tonally balanced. Set it roughly at about 11 LUFS and you should be go to go for production music. Any more than this is icing on the cake. Now, be advised that I am not saying that mastering would not enhance your tracks. If you are submitting to EX M, DW, WB etc. yes you may need to have that extra edge to get you over the hump.

[BEATSLINGER]

And, the “broadcast quality and professional mastering” stuff…That is highly subjective and debatable. I am a award winning professional sound engineer and had things rejected due to supposed sound quality.

My reasoning for “professional mastering” was really more for the growth of their ears, and possibly seeing if they might have some “Sonic Issues”. Being able to have solid sonic references, and a clear understanding of what “could” need some work is important. Something could be going on with their studio/room, or their environment. This could be a great learning tool.

Not meaning “continual outside mastering” (Although, ALL of my high-end work gets professionally mastered) It’s just a relatively inexpensive way to find out whats going on with you, and your work environment.

Also, I completely understand what you’re meaning by “Sound Quality”, and being too high-end. it is a really odd time in music in general. I am in some of the most prestigious libraries, and catalogs in the world (Some by invitation only) and now cannot/will not submit music to lower tier libraries, because they want me to “drastically dumb-down” my productions..

[Roscoe Foderotz]

You hit the nail on the head about it being a really odd time. I recently watched a video posted by John Fulford in regards to things happening right now in licensing. He basically said no one really knows what they are doing right now and it’s true. I could probably submit a 60 second sustained sine wave and it will be my golden egg….

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