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The Inconvenient Truths About Production Music · 52 Cues - A Production Music and Sync Podcast

• 0:29
  Dave Kropf: You know, throughout this podcast, we've talked a lot about some of the really exciting aspects of being a production music composer and how rewarding this career can be.
• 0:39
  Dave Kropf: But, you know, it's not always lollipops and sunshine. Because the fact of the matter is, is there are some pretty sobering and inconvenient truths about this industry that you should really know before you go all in. So today, we're going to say the quiet parts out loud and talk about some of the downsides. Or rather, let's think of them as aspects of the gig, which you just need to get okay with. Plus, we're gonna take a listen to an upbeat acoustic cue written by a member of the 52 Cues community on this week's episode of the 52 cues podcast.
• 1:25
  Dave Kropf: What is happening everybody, this is Dave Kropf.
• 1:25
  Dave Kropf: And welcome back to another episode of the 52 Cues Podcast, a weekly podcast dedicated to all things production and library music, where we talk about industry topics and take deep dives into the different aspects of being a working production music composer. Plus, we feature a cue written by you a member of the 52 cues community and this week, we're going to take a listen to Sunshine Girl, which is an upbeat acoustic cue, written by Ralph Oleski. So you definitely want to stick around for that. If this is your first time here, welcome. I'm so glad you found me. You know, however you found me, I know you have a ton of options out there. Whether you're watching on YouTube, or listening to this audio as an audio podcast, I just want to thank you for spending part of your day here with me. I also want to give a special word of thanks to the family friends and patrons of 52 cues who helped keep the podcast, the channel, and everything here going. We are 100% community supported. So you're not going to hear any ads for meal plans, earbuds, earbuds or phone apps. But if you want to learn about how you can support 52 cues, and also unlock extra perks like zoom feedback, sessions, workshops, live streams and a ton more, then be sure to click on the links in the description or stick around because we're going to be talking a lot more about that a little bit later in today's episode.
• 2:42
  Dave Kropf: So on on today's episode, I wanted to unpack some sobering truths, the quiet parts out loud, the dark underbelly or just things you got to get your mind right with when you are setting out for a career in production music, because it's kind of its own thing. Production Music is is its own lane of the composing world. And it's different from being a film composer, it's different from being a game composer, it's different from being a recording artists or even like writing jingles or writing songs for sync Production Music, where you're writing cues that are going to go live up in a catalog. There are some things that that sometimes it's easy to overlook, we get so wound up, wrapped up into the process of writing, you know that that we kind of overlook some of these So, so here, here's, here's number one. And these are, I don't want to I don't know if these are in things.
• 3:46
  Dave Kropf: a particular order, but these are how they came to me. And the first Inconvenient Truth about the industry is is you have to be patient. You have to be patient with this industry because well, first of all, it's going to take a long time to get really good at writing Production Music, because it is its own animal and even within Production Music There are you know, there are trailers and there are underscores and there are, you know, tasking cues versus high energy cues and with vocals, without, there's a lot of different subsets and learning how Production Music works, learning what editors need, learning how to read briefs, learning how to, to educate yourself. I mean, I did a video a couple of weeks ago that talked about, you know, how do you start in this industry, you get your tools, and then you get better at it. But that takes a while. Or it can take a while. It can also take a while if let's say you're an accomplished musician already, let's say you're already a composer, or a songwriter, or you've been in bands since you were in sixth grade or whatever. Transitioning into the production music world can be super challenging, because Production Music is its own thing. That's what this whole channel is about is understanding Production Music. And so that takes a while and so you have to be patient for musicians and songwriters out there.
• 5:27
  Dave Kropf: Especially you have to be patient because while you're learning how to do these things your brain is telling you, you should already know how to do these things. If you have an accomplished career as a music director, or as a singer, songwriter, or as a performer, like, you know what success feels like, you know what it looks like what it sounds like, you know what good music sounds like.
• 5:55
  Dave Kropf: And transitioning that brain into production, music brain can be, can be frustrating, can be really, really frustrating. And so you have to be patient, you have to be patient with yourself, because it's going to take a long time, it's going to take a long time, because competition is fierce. I mean, the secret's out to the world that the composing world knows about production music.
• 6:23
  Dave Kropf: It's not the dirty little secret anymore, that I talked about in a previous video, people know about it. And so whether it's the tools democratizing the process, whether it's, you know, things like COVID, kind of putting putting all of the composers in indoors, and so they're having to figure out how they're going to make a living at this competition is fierce, the quality of music is better and better. And so you are going toe to toe with folks like me, folks who have 10 to 15 years on me in this industry, or 10 to 15 times more placements than me, I'm competing with them.
• 7:04
  Dave Kropf: And you're competing with me. The good news is, is there's a ton of TV getting made. And I still firmly believe that yes, together, we are better.
• 7:11
  Dave Kropf: And yes, there's room at the table for everybody.
• 7:19
  Dave Kropf: Because there's more TV getting made than I believe composers can provide. Or maybe that's wishful thinking in that you've I don't know, I'm I'm prepared to be okay with either, but there's just so much need. But it does require you to get good at it. So that when you put your music out there, it can hold up against what, what what else is in the market.
• 7:44
  Dave Kropf: And I know, using services like TAXI, the competition can be pretty fierce, you know, and returns are, are a normal part of that process.
• 7:52
  Dave Kropf: And so if you're learning how to do taxi, or if you're learning how to write Production Music, by submitting your things up to taxi, what you're really doing look, think of it this way, think of it like learning to bake a cake by entering into cake baking competitions. And that's, that can be a challenge. And that takes time. And that requires patience, patience, most of us don't have or don't want, especially if you come from some modicum of success as a musician in some other aspect. That can be super discouraging, and frustrating and challenging. So let's say you do get good. And let's say you do get some music and some libraries. And you've you've beat out some of the competition, whether it's taxi forward or whatever, or whether it's an unsolicited email to someone or your music is accepted. Well, you still have to be patient, because it's it's gonna take a long time for that cue to get placed. It might take a while for that that new cue, you write an album of 10 to 15 tracks and they get placed or they get you know, published. That publisher has to now take your music and pitch it to shows, go through another round of gatekeeping that can take a while. To take a long time for a cue in the library to catch the attention for the keywords to line up right for all of the stars to align. So that this editor punches in this key word, this phrase this artists similar sound alike artist or whatever. And your cue comes up amongst a list of several others I'm sure, and for them to choose yours. Then for yours to show up in the show, which leads me to the last part of the last little bit of patience we need is it's gonna take even longer to get paid. You sensing a theme here? This is a very long, very long career. Very long career. And so it's it it will take time. It'll take time to get paid. It'll take time to get placed. Because when your cue gets placed and makes air then it goes into the PRO machine, cue sheets and reporting and tabulating algorithms and then you get a check nine to 12 months later. And that requires patience.
• 10:53
  Dave Kropf: Especially when we look at the next sobering Inconvenient Truth, which is, you have to be okay with the money in several different ways, but talking about the money and understanding, and coming to grips with the money side of the production music world can be really challenging for some folks, for example, the first and the biggest, is you're going to be splitting your royalties with your publisher. 50/50, it's industry standard. It's how the PRO's are set up.
• 11:27
  Dave Kropf: There's a publishing split, and a writer split.
• 11:27
  Dave Kropf: And you have to get right with that. In the publishers earn that money, you know, good publishers are out networking and finding homes for your music, they earn it, it's how they make their living. And they should be compensated for that. And they get compensated by taking 50% of the royalties. And most often 50% of any sync fees or any upfront fees or consideration fees, you're going to be splitting that because ultimately your publisher, you don't work with you, they're not your agents, they're your partners, they're your business partners. More on that a little bit later. But that can be tough for some people getting their brain around the money because they think this is my cue and I wrote it and I should be getting all the royalties, I guess I'll throw them 10 or 15%. No. 50/50. And that can be really, really challenging for some people.
• 12:34
  Dave Kropf: And different publishing deals take different, different shapes. And not every publishing deal is the same. If you're dealing with a sub publisher, you might actually be asked to give up some of your writing share. I'm, I've had contracts like that. And it's fine. And I've talked about you know, never say it's in that "Never Say Never" episode, I've talked about when it's not and always hard "no" if a publisher, the sub publisher, is is asking for some of the writers share. If it means getting into a bigger library and having exponentially more placements, then it could be absolutely worth it. Some deals are going to, are going to be buyouts. And so they'll give you an upfront fee. But then there's not necessarily any back end. This is especially true if if you're looking at either stock music libraries where you're not getting you know a ton of back end or I know like game music, this happens a lot with game music. And you just like I said, you just have to make your your you have to get right with that. And that that can be a challenge getting getting your head around that.
• 13:54
  Dave Kropf: And then another aspect of the money is you're not going to get paid a ton per placement. You're, just, least least that's been my experience, you know, you're not going to get... I think it's a game of nickles. My very first placement was at the off the Masters coverage. And that very first placement, I got about $73 for a placement during the Masters coverage. So whether you've followed golf, you've heard of the Masters tournament.
• 14:32
  Dave Kropf: That's the big deal, the green jacket, Augusta all of that. But my royalties for about a 53 second play was about $73. My wife and I went out to Outback that's that's how we celebrated we blew that entire check.
• 14:48
  Dave Kropf: But it's it's a game of nickels because we're not looking for one for one cue to get millions and millions of streams and placements, because that's just not going to happen. And even if you do have a cue that gets used a lot, it's probably only you know, maybe a minute if you're lucky. And so you're not looking for one cue to go the distance.
• 15:11
  Dave Kropf: You're looking for several cues to be floating around in the industry. And so it all adds up.
• 15:19
  Dave Kropf: Which leads me to another point here in a minute.
• 15:26
  Dave Kropf: But it's It's a game of nickles. And that can be really discouraging for some people when they get their royalty check. And they know they've made air, whether it's high profile, sports broadcasting, or whether it's, it's something on a Discovery Channel show that that you've never heard of, but there it is, or maybe you're not a fan or, or whatever. But there it is, you know, the right demographic. Factor in some streaming royalties, and, yeah, now you'll see, it's not just, it's a game of pennies at that point. Now, it can be discouraging, especially when compared to the artists world where you make a record and it gets millions of streams and or whatever you sell records, you go tour it, or, yeah. And then when you realize, hey, I'm splitting that money with a publisher and the publisher, like, owns the copywriting, ah, you just got to gotta get your mind right with it. Because we're not looking for one cue to get millions of plays. Think of it, let me let me say this another way. I don't want one cue to get 1000 plays, I want 1000 cues to get one plays, because chances are 1000 cues are going to get 1, 2, 3, 4, 5 plays. And that's, that's the the economy of scale that's going to kick in with this.
• 17:02
  Dave Kropf: And then finally, the last truth about the money aspect is, you're going to be doing a lot of writing on spec-- speculation--where you're not going to get any upfront, and consider-- consideration fees are becoming a little bit more normal, which I think is great. And I think as the industry gets more competitive, libraries realize that they can't just, you know, pump and dump into their library, you know, just vacuum up everything. And so, just just to have a catalog, which has a certain number of tracks that can appeal to a music supervisor. So that's changing.
• 17:44
  Dave Kropf: But I will say for any cue that I've ever gotten placed on CBS, during, you know, whether it's football, PGA, basketball, whatever, bull riding, women's lacrosse, professional bowling, Yep, I've had placements across all those sports, and not once have I gotten upfront money. It's all been on spec. And that's, again, just an Inconvenient Truth, a sobering reality that we've got to get okay with. And if you don't have the constitution for that, or the patience for that, then maybe maybe Production Music isn't for you. And that's okay. That's totally and completely, completely okay.
• 18:41
  Dave Kropf: All right, which leads me into the next sobering truth. Which is, you have to approach this as a business because...spoilers!...you're in business.
• 18:50
  Dave Kropf: This is a business. It's the music business, the entertainment business. But at the end of the day, it is a business, and you're probably in business
• 19:09
  with a partner: your publisher. Let alone any writing partners. But this is a business and you have to treat it, because Production Music exists at that intersection of art and commerce. But ultimately, what we're doing here is we're in we're in the commodities industry, I consider the music that I write the cues that I write to be a commodity, which is that raw material that maybe somebody else will use and make something else out of it. That's literally the definition of what a commodity is. And that's what that's what I consider myself doing. You know, I'm not I'm not necessarily making a whole cake, right. I might be making, you know, the frosting. But ultimately, it's somebody else's cake. My part is an ingredient into a much larger whole. And that means that I have to approach this from a entrepreneurial business mindset of serving, serving the client. Now we'll talk about, you know how that, again trickles down into the next truth.
• 20:38
  with a partner: But this is a business and even things like other business, see things like taxes, sending out invoices, the money side of things, tracking money, budgets, marketing, networking, all of this matters. Because this is a business and it's time for you to start treating it as such. From handling the money, to your schedule, to sending emails, and following up, hitting deadlines, all of those kinds of things. Showing up for work. And if you're if you're independent, and you don't have a day job, then treat, treat this like your job. Treat writing like your job. And if you do have a day job, then treat Production Music like a part time job, which means set up time, clock in, clock out, balance, all of that matters. But treat it like a business. Because at the end of the day, it is a business. We are in the business of making music, and making money making music but our cues our music is serving somebody else.
• 22:04
  with a partner: I've used this analogy a lot, but I love to think of this as cooking. And lately...you know, it used to be like artisan *unintelligible*. But lately I feel like I'm a I'm a cook in a waffle house. The customers are the music supervisors, the client, the directors, whoever is the editors. Those are the customers coming in the door. The waitstaff those are the libraries, taking orders, serving up dishes, customer comes in, places an order with the waitstaff, the waitstaff, scribbles it down on on on a sheet and sticks it in the window. And I'm there, you know, behind the wall with my little, you know, the little hole in the wall that I can kind of see through that I can put up my plate, you know, and here comes an order hanging in the window. And I've got Hip Hop cue with a with a side of 808's. Dramedy cue with...hold the pizzacatos. I need a tension cue with extra drones. And I'm just, you know,working on my recipe. And I know the ingre... I have all the best ingredients I've chopped, I've spent all morning chopping these onions. And they they want, you know, extra cheese in their eggs, then I'm gonna give them extra cheese in their eggs. I might not like that, parenthetically, American cheese and eggs is amazing. But if I don't, I'm not going to insist that this is how they have to have it. Which gets me a little bit into our next point.
• 23:45
  with a partner: But it's a business. It's a service industry, we are making a commodity and that can be really, really challenging for some people. That "artist brain" says no, that's wrong, it feels like an affront to our creative authenticity.
• 24:01
  with a partner: Authen...yeah, authenticity. But if that's you, then again, Production Music might not be for you.
• 24:09
  with a partner: And that's okay, that's completely okay. But I have found the most successful production music composers absolutely treat it like a business, clock in, clock out serve the client. I'm a cook in a Waffle House taking orders. And that's that's not to diminish what we're doing. Because there have been times when going to a waffle house and having you know that that greasy diner experience has been exactly what my soul needed. And there's a time and place for that. And it's not "less than," right? And so this isn't to diminish production. I don't I don't I don't compare my my career to a waffle house to disparage my career.
• 25:07
  with a partner: It's to...hmm...it's kind of just to keep it in perspective, I think. So I don't get this inflated sense of ego and artistic ego of what I'm really doing here. Because if you do that, then you start making it about you. It's about the music. And that's just I think way over-inflates the importance of what we're doing. Okay, see my other, you know, this, this is an art conversation. But treat this like a business, from taxes to networking. You know, I'm going to to Production Music Association Conference here in just a couple of weeks. And then I'm going to turn around and go to the TAXI Road Rally. Because I have been invited to speak on a panel at the TAXI Road Rally. I'm not sure exactly. I don't know if they've released the schedule yet. But yeah, if you are going to PMA conference, or the Road Rally, I'd love to meet you come by, say hi, I'll be the dude in the glasses, giant beard and 52 cues, shirt. Love to meet you. But part of why I'm going is networking, creating relationships, it's still the currency of the industry, because this is a business. And you really should start treating it like that.
• 26:44
  with a partner: Alright, so we've talked about, you know, it's a business, you have to be patient, right, you have to get right with the money. And so let's push a little bit further into the creative side of things. And this is another aspect that I have found many people have a hard time with, especially if they're coming from artists world where they're used to making what they want to make when they're used to writing music, and it represents them and all of that. But you have to be okay, with not always writing what you want.
• 27:20
  with a partner: Because because our job is to make the editors life easier to give them safe, predictable phrasing, right, meaning like four bar chunks, and all of that very predictable end with a button.
• 27:34
  with a partner: Nice, you know, not doing all these crazy key changes, nice predictable song form. But even then, you're probably gonna find yourself writing the same types of cues over and over. And it can get a little boring. Or you can run out of creative gas. Or you start just feeling resistance about it because you maybe maybe you don't know quite how to write it. But it's not about you. To quote The Ancient One from Dr. Strange, this isn't about you, you and your music is not the most important thing going on.
• 28:16
  with a partner: And so if you're the short order cook, if you're the cook in the Waffle House, you're just pulling pulling orders from the window, whipping up the order and putting it back in the in on the ledge in the window so that the library the waitstaff can whisk it on to the clients to the customers.
• 28:39
  with a partner: And so you just have to be okay with that. I mean, I think there's room for originality, obviously.
• 28:47
  with a partner: And there. There are times when, you know, I think I mentioned this before, where if you work with a library long enough, then that relationship gets to the point where they might ask you what do you feel like writing, and that's a really good place.
• 29:03
  with a partner: It's a really good place of trust. And it's a good place to be. But even still, that's like the waitstaff saying, whip up a chef special because that waitstaff still has to sell it. They still have to sell it to somebody, somebody has to order that dish. And so, again, sorry about this analogy, just gonna really wear it out. It's like the chef's special sitting in a glass and every every time a customer comes in, it's like, Would you like to hear the specials, I've got this whole new brand new cue, this type of thing. This is a hip hop dramedy cue with ukulele. And suddenly, this ukulele tastes great. And that's great when it happens. But the vast majority of the time you're just pulling orders off the window and fulfilling them. And you have you have to be okay with that. You have to be okay with writing for someone else.
• 30:18
  with a partner: And for that thing, to not be the the creative thing that defines you as a composer. It doesn't get to define who you are as an artist because this isn't art, it's the Waffle House, because it's not about you. And so we are so kind of conditioned to feel like that artistic temperament, right? We're so kind of conditioned for that to be about us. And the ego and id, in in the celebrity of it, if you will, I mean, they're even celebrities in the production music world.
• 31:01
  with a partner: You know, you hear about like, Two Steps From Hell, or Extreme Music or Bleeding Fingers. I mean, those, those are the celebrities in this industry. But even then, whether you're Bleeding Fingers, or whether you're just brand new pitching your stuff to taxi, even Bleeding Fingers, it's a business and they have to meet a need. They are still fulfilling orders. It's just somebody that goes to Bleeding Fingers, probably says, whatever you feel like making me, I'll make. Reminds me of you keeping in our restaurant, restaurant, metaphors, like good sushi restaurants. You just kind of go in and say, make me something. I'll have whatever you make me. And is it that I think there's a documentary like "Jiro Dreams of Sushi," I think. There's a documentary about this little teeny, tiny sushi restaurant in Japan. And there's like no menu, you just show up and whatever he makes you, you eat it. Yeah, I imagine like Bleeding Fingers is kind of like that. Maybe I want to imagine. Whatever, it's still keeping in the in the food industry. But even if you're going to a sushi restaurant saying feed me, you still expect a meal, you're still getting dinner, you're not going to go if you're not hungry. There's still that transaction of me, the chef making you something because I am providing you a meal. That relationship still exists. So you have to be patient, you have to be okay with the money. You have to run this like a business, you have to approach this as a business. And then finally, you have to be okay with the fact that it's not about you, and that you are writing to fill orders to give somebody else a commodity that they can use to tell their larger story.
• 33:31
  with a partner: So those are some of the sobering truths that I know I had a tough time getting my brain around.
• 33:41
  with a partner: And I'm gonna go out on a limb, and guess that you probably did too. But I'd love to hear your thoughts. What are your experiences? Are there some other sobering truths that, that maybe I missed? Please let me know in the comments below.
• 33:55
  with a partner: We would absolutely, absolutely love to hear from you. I make an effort to respond to the comments and I absolutely, absolutely read all the comments. So we're going to take a quick break and when we come back, we are going to listen to"Sunshine Girl" by Ralph Oleski, which is kind of a uptempo, happy, clappy kind of acoustic cue. And really looking forward to that right on this side, or on the other side of the break.
• 34:31
  Shannon Kropf: Hey, y'all, I'm Shannon Kropf And I want to tell you that the 52 cues podcast is made
• 34:35
  possible by viewers and listeners just like you: composers and producers who are looking for a better way to connect and collaborate. You see, 52 Cues isn't just another website selling static pre-recorded videos to a mass audience. It's a fun, vibrant and positive community that comes together online for sharing cues, getting feedback and discussing what's up in the production music industry. You'll find both personalized feedback and live interaction which are the best and fastest ways to grow your skills and earn more placements. The best part is that the 52 Cues community is absolutely free. And when you're ready to take your career to the next level, we offer Friends and Family subscriptions which unlock weekly live streams, live interactive group feedback sessions, monthly interactive workshops and more. Head over to 52cues.com and sign up today. And while you're there, check out our personalized feedback videos, private lessons, and of course merch! I can't wait to see you at 52cues.com.
• 37:23
  Dave Kropf: That was Sunshine Girl by Ralph Oleski, submitted during our week 35 feedback thread. Thank you so much for sending this along.
• 37:30
  Dave Kropf: I really enjoyed it Sunshine Girl--that is a perfect perfect title for that I thought this was really on point and I like--can't tell if that's a that's a uke or it's like a mandolin vibe to it but it sounds sounds a little a little more nylon string. But regardless, I love it. I really like it. It's almost got a mandolin vibe.
• 38:04
  Dave Kropf: Not a fan of these claps. The claps sound everything in the queue sounds really organic but these clap sound a little...they sound a little artificial, like they're samples, and I'm sure they I'm sure they are. But I wonder if you could have a better better go of it just kind of recording your own recording some on your own claps.
• 38:38
  Dave Kropf: Yeah, so the claps feel a little a little out of place. Fantastic octave doubling here where you kind of took the little mandolin... I wonder how like a mandolin tremolo like really high? I don't know if that's going to kind of push it into other territory. Stylistically. But I think I think this is really really working. I like this. And let's put...whoops...let's get this pit pf the way.
• 39:18
  Dave Kropf: Let's...can we put a little a little cymbal swell or something into this? Sorry. Just almost like a transition there. And I mean, if we're gonna go like Sunshine Girl. If we really want to push in into kind of playful territory, I wonder how a glockenspiel would sound for this melody part right here?
• 39:43
  Dave Kropf: It sounds a little MIDI-y. And and yeah, it kind of pulled me out a little bit. I love I love the part love the melody. I think it's really, really working. I just wonder how a glockenspiel would sound instead of this kind of synthy flute sound.
• 40:10
  Dave Kropf: And again, here the claps are really, really popping out. cymbal swell to help onboard that and maybe here where we're bringing in that B melody--so this is kind of an A and then a B section, have this last section be an A plus a B, bring in both the melody. So instead of dropping this, this counter melody, this kind of flute, counter melody (which I'm suggesting to be a glockenspiel), layered on top of it.
• 40:57
  Dave Kropf: *Hums line* Right, so it becomes almost this kind of singalong kind kind of thing. And that could really, that could be really nice.
• 41:16
  Dave Kropf: Really good button. I do feel like our audio tail is trimmed a little too short here.
• 41:29
  Dave Kropf: Nose dives a little too fast for me. Goes *hums* and then it dies. I think you could probably spend just a little bit more time a little bit more time with it. Really nice intro. I wonder if, when we bring when we bring the A melody back, maybe do that little breakdown--almost like like a changeup, like a little interlude--to help reset that going back into that last A section I thought I think that could be a can be really, really good. But Ralph, thank you so much for sending this along.
• 42:11
  Dave Kropf: As I said, this was submitted during our weekly feedback thread over at 52 cues. And this is something we do every single week. So if that's something that you're interested in, then why don't you head over to 52cues.com and join us we would absolutely, absolutely love to have you. And if you found this type of feedback helpful this video feedback helpful. And maybe you have some cues that you would like personalized in depth of video critique for then, then head over to 52cues.com/coaching, I can get a video for you where I'll do things like breakdown form, structure, Harmony mix, and a ton more once again 52cues.com/coaching. And while you're over there, you can check out some of my other coaching services like one on one zoom sessions or masterminds. That the point is, is that we really work together towards creating your career or crafting pathing planning your own career goals in production music.
• 43:09
  Dave Kropf: So once again, I want to give a huge shout out to our family, friends and patrons of 52 Cues who keep the lights on for us, be sure to stick around at the end of the video, watch their names go by be really, really, really appreciate that. But that is going to do it for me today. Be sure to tune in next week, where I am going to be talking about tips that you can use to jumpstart your own composing and creative process. Tips to jumpstart your composing process. That is for next week.
• 43:41
  Dave Kropf: Otherwise this is going to do it for me. Thank you so much for sticking around and I hope that you had a stellar week. And I know that next week is going to be great because why? Because I believe that the universe has fantastic plans for you.
• 43:52
  Dave Kropf: Until next time, peace. The 52 Cues Podcast is copyright 2022 Dave Kropf. All rights reserved to music played on the podcast is copyright of their respective owners and is used for educational purposes only. For more information including joining the 52 Cues Community and submitting your cue for consideration on the podcast head over to 52cues.com