Work Method – What’s Yours?

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  • #35545 Reply
    Art Munson
    Keymaster

    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!

    #35546 Reply
    ORPM
    Participant

    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.

    #35547 Reply
    johnnyboy
    Participant

    Yes, a lot of interesting ideas Len.

    Seems there are so many possibilities. I’m pretty much in a working rut. About the same every day – though the music changes. Most my tracks take one day. Although, I do a lot of piano work. How long a track takes doesn’t seem to matter with placements or quality of work. Some of my favorite tracks only took a couple hours.

    #35548 Reply
    Art Munson
    Keymaster

    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.

    #35549 Reply
    johnnyboy
    Participant

    I agree with Art. Titling takes some thought. I have about 4-5,000 titles. I’ve overused some keywords like “melancholy, Café, Romance, and many more. I think I used every romantic city in Italy in titles. The good news is all I have do is place a search, and I can make sure the title wasn’t used before. I like to choose a title before I start work. Seems to inspire me. Seems my titles get longer every time – ha, ha.

    #35551 Reply
    Dreamuse
    Participant

    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.

    #35552 Reply
    johnnyboy
    Participant

    I think one should do their best work all the time Len. Regardless if it’s exclusive or non-exclusive.

    #35554 Reply
    LAwriter
    Participant

    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.

    #35555 Reply
    Dreamuse
    Participant

    LAwriter, would you mind providing a link of an example of what you consider a fairly complex track? Just curious.

    Thanks,

    Len

    #35556 Reply
    Dreamuse
    Participant

    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.

    #35557 Reply
    LAwriter
    Participant

    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.

    #35558 Reply
    Art Munson
    Keymaster

    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.

    #35559 Reply
    LAwriter
    Participant

    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.

    #35560 Reply
    Dreamuse
    Participant

    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.

    #35561 Reply
    johnnyboy
    Participant

    Hmm… complex verses simple? Does complex have more merit than simple? Is a Bach 3-part fugue better than the folk song “Greensleeves. Greensleeves is a beautiful melody, but it took more time and effort composing the fugue. Still, I bet more listeners would rather hear Greensleeves. So, that begs the next question. Is a music track better than another if the majority of listeners prefer it? Would you rather have a simple track being used more by libraries, than a complex track receiving very little attention, even though you’re very proud of it? Also is a 30-track orchestral piece, more complex than a piano solo. I will say the orchestral track would take longer because of all it’s parts. But some orchestrations are fairly simple, while some piano solos (Beethoven Sonatas for instance), are very complex. I’ve composed both complex and simple piano works. They’re my children. I don’t consider one better than the other. Food for thought…

    Best, John 🙂

Viewing 15 posts - 16 through 30 (of 48 total)
Reply To: Reply #35547 in Work Method – What’s Yours?
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