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Transcript

Country Hip-Hop Hybrid Cue Review · 52 Cues - A Production Music and Sync Podcast

• 0:31
  Speaker 1: What is happening everybody, this is Dave Kroff, and welcome back to another 52Q's Q review, where I feature a Q written by a member of the 52Q's community and provide critique and feedback like you might get from a publisher or a music supervisor.
• 0:48
  Speaker 1: Today we are featuring Country Mornin' Sippin from 52Q's family member, jeff LaPlante.
• 0:55
  Speaker 1: This is kind of a country hip hop hybrid Q, so we are going to take a listen to it and then talk about it on the other side.
• 1:02
  Speaker 1: Alright, that was Country Mornin' Sippin from Jeff man.
• 2:45
  Speaker 1: Jeff is a master of sample manipulation and chopping and I love the work that you did with the pedal steel.
• 2:58
  Speaker 1: This is really, really nice and, I think, a perfect example of like a hybrid done right.
• 3:04
  Speaker 1: The idea when you are doing a hybrid Q isn't to just crash things in together, it's to take kind of you want to maintain the kind of integrity of both styles, so taking something like a pedal steel country Q and a hip hop Q.
• 3:28
  Speaker 1: So they are like drill elements, like that kind of backbeat kind of thing, and I think this is absolutely working.
• 3:37
  Speaker 1: A couple of quick notes.
• 3:38
  Speaker 1: I would that snare drum.
• 3:41
  Speaker 1: I would make it a little bit more deliberate on the end of four, two, three, four.
• 3:49
  Speaker 1: Just make that a little bit hotter, because we are already kind of outside of the traditional boundaries of hip hop right by using this, and so I would make that a little bit more pronounced.
• 4:10
  Speaker 1: Love the acoustic guitar.
• 4:13
  Speaker 1: I think that is super working.
• 4:15
  Speaker 1: Well, I would watch the mix between the kick and the, the 808s.
• 4:23
  Speaker 1: The kick is coming across a little fwumpy, for lack of a better term, and I don't know if it's.
• 4:37
  Speaker 1: We have some kick layers which aren't really locking in.
• 4:41
  Speaker 1: And love in this B section here, how we brought a whole difference of B section, it was a nice touch and I was thinking as we were cooking it long was like man.
• 4:55
  Speaker 1: I really hope that we bring in some different samples or some different licks.
• 5:01
  Speaker 1: And overall the mix is really really loud and I know this is kind of pop territory and we've we've kind of explored this before.
• 5:20
  Speaker 1: But in terms of our short term loves, we're getting into the nines, our rms is peaking into the sevens and I think it's just a little, a little too loud.
• 5:29
  Speaker 1: And the good news is is that looking at your mix, I'm not seeing a bunch of flat topping right.
• 5:35
  Speaker 1: So you've done a really good job capturing the dynamics.
• 5:39
  Speaker 1: It's not just pushing into the limiter and creating just brick, brick top here.
• 5:45
  Speaker 1: So I think it's working really, really well.
• 5:50
  Speaker 1: Love the snaps out of the beginning.
• 5:52
  Speaker 1: And the reason this is so important, to put these types of elements early, is you've got to let a music supervisor know within the first five to ten seconds kind of what they're in store for.
• 6:05
  Speaker 1: What kind of cue is this?
• 6:07
  Speaker 1: And I know I mean you take, you could take the snaps out of that and this could just be your garden variety kind of pedal steel, acoustic folk kind of thing.
• 6:21
  Speaker 1: But those snaps instantly tell a library or a music supervisor who might be auditioning you know, hundreds and hundreds of cues in one listening session that that, that that we've got, we've got something special coming your way.
• 6:43
  Speaker 1: Yeah, I just think the kick in the 808 are just kind of fighting.
• 6:47
  Speaker 1: They don't really seem in sync.
• 6:48
  Speaker 1: Nice pullback of energy into this next section.
• 6:53
  Speaker 1: I think we could have gotten away with a little bit bigger of a break here, because it's about to hit hard.
• 7:08
  Speaker 1: I'll tell you what could be cool and it might.
• 7:12
  Speaker 1: Sorry, I'm like peep you a couple of different things.
• 7:15
  Speaker 1: You could take out the bass note because I like it artistically, but I think it diminishes the impact of that next section.
• 7:26
  Speaker 1: And I wonder if, if you didn't do that, if a stop down would work and I'm going to see if I can't do this just using using Logix effects here, and obviously you'll need to be a little bit faster than that.
• 7:53
  Speaker 1: So let's do it like, or maybe even faster than that, that's the way to do it.
• 8:08
  Speaker 1: I'm going to try it one more time.
• 8:17
  Speaker 1: Just a little something to add an impact so that when that next section hit, it hits really, really hard.
• 8:31
  Speaker 1: And do you have another backbeat layer you can add?
• 8:38
  Speaker 1: Through this, I would lean into the two and four, really strong.
• 8:48
  Speaker 1: Another snare, transient snare layer, some reverses or something.
• 9:09
  Speaker 1: I kind of felt that going into here, probably do a little bit more with that.
• 9:17
  Speaker 1: And really nice, that pedal steel lick sounds great and, knowing your work, I know you've done a really good job of chopping it, mangling it, making it your own.
• 9:37
  Speaker 1: I mean truly taking like, using samples responsibly.
• 9:42
  Speaker 1: I think the button could be a little bit more pronounced.
• 9:45
  Speaker 1: Maybe we need a little bit more bass or and it needs to stretch out a little bit, which can be a challenge.
• 9:59
  Speaker 1: You know when you're dealing with, when you're dealing with samples, you really don't have the option of always having full length extended notes, and that could be a real challenge.
• 10:12
  Speaker 1: So I think that button, namely in the pedal, in the pedal steel, I think that could be a little bit more pronounced.
• 10:21
  Speaker 1: But, jeff, thank you so much for sending this along.
• 10:24
  Speaker 1: Like I said, this was sent along during our week 32 weekly feedback threads and he said digging deeper into my tune set, I noticed that I've had quite a bit of success with these country hip-hop hybrid cues, so working on a little bit more yeah, I think this is a home run.
• 10:43
  Speaker 1: So this was submitted during our week 32 we put weekly feedback threads up every single week over at 52 cues.
• 10:50
  Speaker 1: It's really one of the cornerstones of the community and if that's something that you would like to do, then join us over at 52 cues dot com.
• 10:58
  Speaker 1: We would love to have you.
• 10:59
  Speaker 1: And if you would like feedback on your own cues beyond you know, being featured on the podcast then head over to 52 cues dot com slash coaching and you can order up your own feedback video where I will look at form, structure, title, mix, master and give you direct video feedback on your cues.
• 11:21
  Speaker 1: Again, that's 52 cues dot com slash coaching and while you're there, you can also book a one-on-one zoom session.
• 11:27
  Speaker 1: I would love to work with you and help you along in your production music career, but that's going to do it for me.
• 11:33
  Speaker 1: Thank you so much.
• 11:33
  Speaker 1: Until next time, peace you.