- This topic has 47 replies, 10 voices, and was last updated 4 years, 4 months ago by .
-
Posts
-
have you found in general that you can say the tracks that have taken longer to create have done better than the (most likely) simpler tracks you can crank out in a day?
It can work both ways. One of our most successful tracks took about 3 hours. Still, I prefer to labor over them. I guess I’m a gluten for punishment!
Some of my best running tracks were made in 4-6 hrs in one go. I think autenticity and having something to say is the point. My big problem is titling I hate that.
My big problem is titling I hate that.
I hear you but I have found over the years I have gotten better at it (at least I think so). Doesn’t come naturally to me but it can be learned.
Thanks for your thoughts thus far! I know there’s been wide-ranging debates about exclusive vs non-exclusive, but one thing I’m finding is that while it’s great to be “produced”–as in, it’s usually a better track– it’s of course no skin off the producer’s nose to ask for more polishing in (generally) the exclusive lib’s. This is where I’ve been wondering: I have about 100 slaved-over tracks that are exclusive, when I could have cranked out 500-1000 good tracks by now non-exclusively.
Thus, I forgot to ask in my last entry: Are most of the folks weighing in about non-exclusive tracks, perchance? I’m wired to be a perfectionist, but can rewire and adapt as needed. I’ll always insist on good stuff going out the door, but I’m hearing loud and clear that it doesn’t have to be album quality.
So we’re back to how many tracks a day?? LOL. :). OK
Reality is reality. If you can’t turn out one fairly complex and well mixed track a day, it will be very hard to gain any traction in an industry in decline. Quality is great. It’s a given. It’s a must. But to maintain even status quo due to streaming, global competition, shrinking sync’s, shrinking royalties, AI and a host of other things, you’d better be cranking out the hits. That’s what it takes to survive unless you can consistently hit those $10-20k commercials and/or trailers and have 50% sync sharing. For normal work, you’d better be doing better than a cue a day…. And it had better be top notch.
LAwriter, would you mind providing a link of an example of what you consider a fairly complex track? Just curious.
Thanks,
Len
Johnnyboy, I get your point in terms of quality put forth on both places. Still, I think there can be “best for the time you can allot” for a track, as opposed to the best you can possibly do. If you crank out a track in a day or two and it’s 90% as good as if you had all the time in the world to call it “done”–which may take a week or more–than I’m betting the former’s a better living. Still, I’m trying to figure this out, frankly.
Len – it could be a variety of things. From a fully orchestrated hybrid orchestra / rhythm section / heavy percussion, etc. to a country piece with a bunch of acoustic overdubs – Mando, Ac. Gtrs of various types, dobro, slide guitar, electrics, etc..
As an example, the guitarist I normally use for Americana style stuff plays – bass, acoustic, high strung, dobro, Mando, banjo, lead acoustics and electrics, and maybe some other stuff like dulcimer. He generally listens to it once, then plays all the other instruments in an hour to an hour and a half. But he’s a killer reader, and a AAA player with 40+ years professional experience. I DO have to do some editing when he’s moving that fast though….
Bottom line – aside from waiting for musicians – I’ll rarely take longer than a day to write anything. Production times can vary wildly due to musicians and instrumentation. But writing and any ITB production had better be done in a day for me. Or I’m getting behind.
LAwriter, would you mind providing a link of an example of what you consider a fairly complex track? Just curious.
Me too, Would like to hear some of those.
Are you guys talking any random complex tracks? Hit up any A level library and listen. If you’re talking MY complex tracks, I prefer to stay anonymous here for the obvious reasons.
Hmmm…I certainly can create a tension cue in a day, but a larger orchestral piece, unless it’s building on repetition, well I wish I could create that quickly.
At the last Production Music Conference, I remember speaking with a pretty well-known composer, and he said it took him 3-4 days. I’m still wondering if there’s a linear relationship. Perhaps the larger cue’s chance of being used in an ad or other higher-dollar placement, increases, and thus pays off.
- You must be logged in to reply to this topic.