BEATSLINGER

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Viewing 15 posts - 1 through 15 (of 320 total)
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  • BEATSLINGER
    Participant

    i think it was a bit insulting to trailer composers and music sups that they think that damage loops banging out on a keyboard is anywhere close to proper trailer music.

    I COMPLETELY understand!
    I feel like this.. If you don’t know a Genre, leave it alone. Don’t make Insipid, Dumbed-Down Music; and then make excuses as to the genre being basic, mindless, or rudimentary.

    Tons of crud out here from people that have no respect for genres outside of their scope, but love collecting the check..


    BEATSLINGER
    Participant

    A lot of the criticism is directed at trailer music. Actual TRAILER MUSIC (as in, the music in trailers) is far more innovative than most people think. We’re not talking about the stuff playing behind Cake Boss – that ‘epic’ sound is cheapened by overuse in everything from sausage ads to reality TV shows. It sometimes creeps into TV spots (the short TV ads for movies) but generally there’s a demand for innovation and something a little different in most trailers.

    Mark, I have heard your work, and “Your Stuff is innovative”; but for the most part the genre/style is pretty-much cookie cutter right now..

    I haven’t heard the whole webinar yet, but so far it just sounded like a bunch of griping.

    Yes, The Cream will Rise to The Top. As well, it seems that the “majority” of the loop-based, and Fast-Food Beatmakers are getting stuck somewhere around the Lower-mid & Mid Tiers.

    This type of saturation is not happening in the top-tier, and I’m literally turning down Libraries right now..

    in reply to: Just another Trailer track #32386

    BEATSLINGER
    Participant

    You might laugh when I say this but I feel like this particular track, compared to all I’ve done before, it´s on a different level and deserves better than an “Upload” button.

    Go with Your “Gut”. Just because we have tracks that we are “Hot For” doesn’t mean we have to rush to put them out.

    There really is no “Time Stamp” on tracks in Production Music, and there is literally a need for every period of music. To submit to libraries, I have been getting tracks accepted by looking at my “Archives from 5- to 7- to 10 years ago..


    BEATSLINGER
    Participant

    Any recommendations on libraries, tags, if the forms are ok, etc would also be wonderful. I also worry if its outdated at all.

    Hi there. Technically, I see nothing wrong with the compositions. Personally, I would not mix “Harsh Synths with nice, clean, and pretty guitar tones” (like the first track. It took me on vacation until I heard the grainy synths. but that’s just me..)

    If You’re worried about being “dated”. I know for a fact that unless it is requested. NOT following the current music trends too closely, and being a few years behind is best. What “most” libraries are looking for is “proven” music(s) that are highly sought after.

    Coming from the record side of the business, where I was always looking at current trends/styles has not helped me much on this side. If it’s dated, somewhat boring, and in my opinion underplayed. That seems to be the target area for “a lot” of the Libraries..

    in reply to: Feeling quite discouraged #32384

    BEATSLINGER
    Participant

    I’m having trouble finding many sites through the archives here that are open submission, especially seeing as I don’t have much of a back catalogue yet. How are people mostly getting into these libraries, were many open submission at some point prior and changed their policies

    Hi there, Art is correct. You have to build a relationship, and “You have to develop a thick skin, and take nothing personally”.

    These Libraries know exactly what they are looking for, and have Albums/Themes slated. Because they are BARRAGED with music all the time. They focus and concentrate on ONLY what they need at the time (If it’s something they’re really feeling, or an album where it can be used is coming up soon. They will let you know, and show interest)

    This whole thing for me has been building a track record, and getting placements. From there, you can show your work, and start getting into better libraries.

    **Very Important!!** Make sure you read the reviews and comments in the threads about The Libraries you are submitting to. There are some “Lifer’s” here, and pretty much all of us here are in all of the Libraries. Reading, and having “good discernment” could be the difference between “making a LOT of Bread, and make some great advancements. Or, putting Your music into Music Cemeteries”.

    in reply to: Just another Trailer track #32377

    BEATSLINGER
    Participant

    To be honest “The Whole thing is Subjective”. One Library will tell You it’s too little, and one will tell you it’s too much.

    All you can do is “Submit it, and hope the right person hears it”.

    I had some tracks that I recently submitted to a moderate TV Library as part of their “requirements to start uploading tracks”. They came, they listened, and I heard nothing back from them (although, the person in charge of the Library sent me a Connection Request on LinkedIn..LOL)

    Submitted the same tracks/cues to an APM Library, and got asked to do multiple Albums..

    You just never know whats gonna happen, just “don’t set your sights on One or Two Dream Libraries; and just look for Great Homes for Your music!!”

    in reply to: Greetings from LA #32347

    BEATSLINGER
    Participant

    Hi there Joseph F, Congratulations on the Forthcoming addition to Your Family!

    WOW! Jazz Banjo, and Chicken Picking. Sounds like a Nice Niche!

    I look forward to hearing the sounds!

    I wish You much success!!

    in reply to: Music Libraries for songs #32327

    BEATSLINGER
    Participant

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    in reply to: Hello from SW Florida #32290

    BEATSLINGER
    Participant

    Just curious Beatslinger, do you mean nostalgic like , Pat Metheny, Lyle Mayes duets with pads and tons of ambience or nostalgic like Bert Jansch?

    Nostalgic like Jim Croce, and Pat Metheny. You’re getting really “Solid and Warm tones. As well, there is a lot of confidence in the playing”.

    For pads, I would think “retro”. Arp 2600, Arp String Ensemble, Odyssey, Fender Rhodes MK/MkII
    and Standard Piano

    Like I said, just thoughts..

    in reply to: Hello from SW Florida #32286

    BEATSLINGER
    Participant

    Hi there Mspak1, and welcome.
    Great tones with The Acoustic. I personally think that is “quite possibly your ave”.
    I would love to hear some stuff from you, minus any drums or things that would make it “current, trendy, or hip”.

    I think You’re on to something if you can do some “heartwarming, and possibly nostalgic pieces”.

    Just my thoughts.

    in reply to: marketing short instrumental clips(15/30 sec.etc) #32249

    BEATSLINGER
    Participant

    Thx for replying- just found this site and would be interested in any feedback from people who have also been thinking in terms of marketing the shorter clips made from a full -length track or who have done this…Looking for places that want these in specific as well as the full length version

    This is standard practice for practically every Library that is doing TV/Film placements..

    in reply to: WHAT IS UP MUSIC PEOPLES? from ATL area… #32238

    BEATSLINGER
    Participant

    Sounds Great! I like that You’re getting “Good Emotions” in your work!.

    As well, nice to hear something “Not So Typical”.

    Good Fortune to You! I don’t say luck, because “Luck has nothing to do with anything and it’s all about being prepared when opportunities arise!”

    in reply to: WHAT IS UP MUSIC PEOPLES? from ATL area… #32235

    BEATSLINGER
    Participant

    Hi there, and Welcome “Manic” iiWii

    in reply to: Hi Everyone (from Toronto) #32232

    BEATSLINGER
    Participant

    Hi there Doug, and welcome!

    Sounds good!

    Being in Toronto, there is a lot of music coming out of that area, and some really good libraries up there.


    BEATSLINGER
    Participant

    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..

Viewing 15 posts - 1 through 15 (of 320 total)