Latest / 52 Cues - A Production Music and Sync Podcast / Ready for Sync? Live!

Transcript

Ready for Sync? Live! · 52 Cues - A Production Music and Sync Podcast

• 0:35
  Speaker 1: What is happening.
• 0:36
  Speaker 1: Everybody, this is Dave Kroff, and welcome to another episode of the 52Q's podcast, your weekly insight into all things production and library music.
• 0:47
  Speaker 1: Whether you are a sink professional brand new to the sink, or maybe you're just curious, I promise you you are in the right place.
• 0:55
  Speaker 1: My name is Dave Kroff and it is so good to be with you today for a very, very special, ready for sink live episode of the podcast.
• 1:04
  Speaker 1: We've got 10 cues queued up from the 52Q's community and I'm going to be giving feedback on those, like you would hear from a music supervisor or a publisher or a potential library.
• 1:18
  Speaker 1: So it is so good to be with you today.
• 1:22
  Speaker 1: So I have to give a special word of thanks to the family, friends and neighbors of 52Q's, who really do keep all of this going, and this would not at all be possible without them.
• 1:36
  Speaker 1: So if you want to also help support 52Q's while also getting access to extra bonus features like live streams, workshops, zoom feedback sessions, hours and hours of video archives, then head over to 52Q'scom.
• 1:49
  Speaker 1: It's free to join and membership subscriptions start at just around four bucks a month.
• 1:56
  Speaker 1: So it is so good to be with you.
• 1:57
  Speaker 1: We've got folks hanging out in the chat room already.
• 2:00
  Speaker 1: Ooh, we've got a super chat.
• 2:03
  Speaker 1: We're so good to have everybody with us today.
• 2:08
  Speaker 1: It is going to be a stellar, stellar afternoon and I am so good and we're going to go.
• 2:14
  Speaker 1: We've got 10 cues.
• 2:16
  Speaker 1: I think we'll be able to get through all of those.
• 2:18
  Speaker 1: But yes, it is so good to be with you.
• 2:22
  Speaker 1: Let's see folks.
• 2:23
  Speaker 1: We've got Source 4, timothy.
• 2:24
  Speaker 1: We've got Mad About Nothing, dolpho hanging out, greg Feldman, trace hanging out in the chat.
• 2:29
  Speaker 1: Oh, we've got lots of folks hanging out with us today and it's really really If I said this enough, it's really really good to be with you.
• 2:39
  Speaker 1: So this is our first of what I'm sure will be many ready for sync live events where, hopefully, folks they're hanging out in the chat room, they can ask questions and I'm going to be providing feedback.
• 2:52
  Speaker 1: I've got the cues already queued up and ready to go.
• 2:55
  Speaker 1: If you have any questions there in the chat, you can ask that.
• 2:58
  Speaker 1: Uh-oh, it looks like Janice has skipped dinner.
• 3:05
  Speaker 1: Your birthday dinner last year might be time to go out.
• 3:08
  Speaker 1: Trace is budgeting, listening and plotting her birthday dinner, and I don't know Chinese.
• 3:14
  Speaker 1: He sounds good, doesn't it?
• 3:15
  Speaker 1: Mrs 52 cues who is hanging out in the chat room.
• 3:19
  Speaker 1: So let's just jump in.
• 3:21
  Speaker 1: Let's jump right in, but first, if all, throughout the afternoon, if you have, like I said, if you have questions, but if you are looking for feedback on your own videos, then you can head over to ismyqreadycom and you can order up your very own feedback video, just like I am giving there, 15 minutes long.
• 3:45
  Speaker 1: They're HD and full stereo so you can check that out.
• 3:50
  Speaker 1: But let's go ahead and get started.
• 3:52
  Speaker 1: Let's go ahead and get started.
• 3:54
  Speaker 1: So our first cue is from Ilya, and Ilya submitted an up tempo EDM cue.
• 3:59
  Speaker 1: I wanted it to have a dance feel, but also can be usable for action or tense moments.
• 4:05
  Speaker 1: So this is down to the floor and let's take a listen to it and we will talk about it on the other side.
• 4:11
  Speaker 1: All right, that was down to the floor from Ilya.
• 6:09
  Speaker 1: Ilya, thank you so much for sending that along.
• 6:13
  Speaker 1: I really, really like this bass sound at the top.
• 6:15
  Speaker 1: It's really cool.
• 6:18
  Speaker 1: That's a really unique sound and something that I think helps it stand out a little bit, and I can hear it being like in a club scene where it's a diagetic, like it's a diagetic cue being put into a scene.
• 6:38
  Speaker 1: If you're not familiar with that term diagetic means something that is existing within a scene, that the characters can interact with or can experience.
• 6:46
  Speaker 1: It's happening in the scene.
• 6:47
  Speaker 1: So if you're in a club and you hear music in a club, then chances are that that's diagetic music.
• 6:53
  Speaker 1: It's occurring in the scene and so I could absolutely see this being used in that sense.
• 7:02
  Speaker 1: Now, is it?
• 7:03
  Speaker 1: I mean, could it be something like a tension cue, maybe like an action chase cue or something like that?
• 7:11
  Speaker 1: If we wanted to steer it more towards that, then I think a few more stop downs or edit points would help with that.
• 7:22
  Speaker 1: So like if we were coming into this section here Like a do-boop and pop it on beat four, not a full edit point like you might hear in a regular tension cue, kind of like we have here this edit point a little bit later or the stop down.
• 7:45
  Speaker 1: All right, that's well done, but a little more breaks, a little more of the ear candy, things that an EDM cue would have.
• 8:00
  Speaker 1: But in general I think this is working.
• 8:01
  Speaker 1: The mix is good.
• 8:03
  Speaker 1: It could probably hit a little harder.
• 8:06
  Speaker 1: You know we're about minus 13 plus or so minus 12.
• 8:12
  Speaker 1: I take it back.
• 8:13
  Speaker 1: I take it back, but I think the kick could hit harder.
• 8:17
  Speaker 1: The kick feels a little little wumpy.
• 8:20
  Speaker 1: I think the kick could smack a little bit harder here.
• 8:29
  Speaker 1: Hey, what's up?
• 8:32
  Speaker 1: Mike Sene, thank you for joining us, man, but I think this is absolutely working.
• 8:39
  Speaker 1: Speaking of the edit point Two, three, four, one, two, that's a pretty epic edit point, and so let me put this into.
• 8:53
  Speaker 1: You said it's at 122.
• 8:54
  Speaker 1: So let me put that to that BPM and kind of see if we can't edit that down just a little bit.
• 9:03
  Speaker 1: Yeah, we have like a full two bar edit point, and so what if we crossfade here and do something like yeah, I think that's all you need.
• 9:16
  Speaker 1: I don't think we need any more than that.
• 9:18
  Speaker 1: Pretty epic as it is.
• 9:22
  Speaker 1: But at the end of the day, is this cue ready for sync?
• 9:24
  Speaker 1: I think I think yes, down to the floor.
• 9:28
  Speaker 1: As far as the title goes, that title works for me.
• 9:35
  Speaker 1: There is an intensity and there's an anticipation to this that doesn't really it feels down to the floor seems, you know, surely got low, low or whatever, but I don't know.
• 9:51
  Speaker 1: I think we could use a little bit more of an aggressive title.
• 9:54
  Speaker 1: But I'm telling you, that sound, that's a cool sound that works really really well.
• 10:02
  Speaker 1: So, ilya, thank you so much for sending this along.
• 10:05
  Speaker 1: I think we're about ready for sync.
• 10:07
  Speaker 1: Just a few tweaks and we are off to the races.
• 10:10
  Speaker 1: So really, really really appreciate that Ronnie has joined us.
• 10:15
  Speaker 1: It's always the kick that makes us, that gives us some troubles.
• 10:20
  Speaker 1: Yes, just can hit a little harder.
• 10:22
  Speaker 1: My recommendation would be using like a splice one shot for a kick, because they often have effects and everything kind of baked in and it makes things I don't know.
• 10:32
  Speaker 1: It's just easier, I don't know.
• 10:34
  Speaker 1: I find it easier to mix splice one shots than bringing in my own kick and like tweaking it and all that stuff.
• 10:44
  Speaker 1: So, ilya, thank you so much for sending this along.
• 10:48
  Speaker 1: Next up we have Timothy.
• 10:51
  Speaker 1: Tim says submitted a synthwave down tempo instrumental track that I would love some feedback on.
• 10:57
  Speaker 1: It was for a taxi brief.
• 10:58
  Speaker 1: However, I no longer have the brief, so let's check out.
• 11:03
  Speaker 1: This is called tranquil drift.
• 11:06
  Speaker 1: Let's get there.
• 13:51
  Speaker 1: Alright, that was Tranquil Drift from Tim Ackerman.
• 13:54
  Speaker 1: Thank you so much for sending this along.
• 13:57
  Speaker 1: I enjoyed this melody.
• 13:59
  Speaker 1: It was really do-do-do-do-do-do.
• 14:00
  Speaker 1: I mean it's still kind of echoing in my ears and I think that's done.
• 14:04
  Speaker 1: That's a really, really good job.
• 14:06
  Speaker 1: The mix was a little bit on the low side and you said synthwave and I was.
• 14:12
  Speaker 1: I was, I was expecting something a little bit different.
• 14:16
  Speaker 1: Now I understand it's kind of a chillwave down tempo kind of thing, and maybe, maybe I just misread it Synthwave down tempo.
• 14:24
  Speaker 1: This has low-fi vibes to me a little bit more, where it sounds like a dusty record rather than something kind of lifted from the 80s Synthwave music.
• 14:37
  Speaker 1: And it's a fine line, isn't it?
• 14:39
  Speaker 1: The line between synthwave and low-fi typically is the quality of of the recording or the quality of the instruments.
• 14:48
  Speaker 1: Low-fi takes a synth from the 80s and plays it today.
• 14:55
  Speaker 1: Synthwave takes a synth from the 80s and it needs to sound like it was produced in the 80s.
• 15:03
  Speaker 1: You know, does that make sense Like a recording from the 80s played today?
• 15:06
  Speaker 1: So it's deteriorated, so so, and I think it's in the drums.
• 15:09
  Speaker 1: I mean that's a, that's a, that's a low-fi, that's a low-fi drum, drum sound and drum groove if I've ever heard one.
• 15:18
  Speaker 1: So I think if we were going for synthwave, I think we need to to brighten up or clean up the drums and if we wanted to push into synthwave I think a little bit more, make a bigger, bigger deal of the arpeggios.
• 15:33
  Speaker 1: You know all of those types, all that type of movement.
• 15:38
  Speaker 1: Or you just call this chill wave low-fi, because the wave gives you permission to use some synthwave sounds, but it's firmly, it's firmly low-fi for me.
• 15:55
  Speaker 1: Now a couple of mixed things here.
• 15:57
  Speaker 1: If we kind of freeze it right there, we've got a really aggressive spike right here around 20K.
• 16:04
  Speaker 1: I'm going to switch up the, the, yeah, right around 22K or so.
• 16:09
  Speaker 1: I'm not sure it might be one of your effects.
• 16:13
  Speaker 1: So I'm using I'm using the Pro-Q3.
• 16:18
  Speaker 1: And if you're, if you're listening, just imagine the Pro-Q3 where you can kind of freeze the, the freeze the waveform here, and we've got this really aggressive spike around 21K, 22k.
• 16:31
  Speaker 1: Now, as a lifelong drummer, I've long since lost lots of those frequencies.
• 16:36
  Speaker 1: However, I imagine somewhere somebody under the age of 30 is really really really getting host by that frequency.
• 16:45
  Speaker 1: Chances are it is one of your low-fi effects or something which is introducing noise into the, into the mix, and so I would be really, really careful.
• 17:04
  Speaker 1: I think the drums could be a little louder, the de-de-de-de, those, those kind of lindrum sounding things, I think they could be a little bit louder, and the breakdown felt like it was a little long.
• 17:14
  Speaker 1: It really mellows out, which I think is cool and this is working.
• 17:24
  Speaker 1: But I would de-de-de-de-de-de-de-de, I would add some more percussion or something like that.
• 17:38
  Speaker 1: Here it just mellows out way, way, way too much.
• 17:42
  Speaker 1: And if we were looking for, you know, sync, placement and that kind of thing, maybe a, a, a stop-down or an edit point where it just kind of breathes, boom and just boom, and then let it don't take it to zero, but let it decay enough that an editor could go in, cut it and add dialogue in between.
• 18:01
  Speaker 1: And here's where I wanted the arpeggiators to come out a little bit more.
• 18:15
  Speaker 1: Another thing to keep in mind with when we're doing synth wave.
• 18:18
  Speaker 1: If you have pads and those types of things, think back to how these were programmed originally.
• 18:25
  Speaker 1: It wasn't MIDI, you couldn't just grab something in a doll and loop it.
• 18:29
  Speaker 1: Instead, they were often performing these lives and very rarely would a composer just hold a note and then just kind of camp out for two minutes and 40 seconds.
• 18:40
  Speaker 1: Instead they're going to hold a note, put a sustain pedal on it, and they're always tweaking knobs or always moving the sound.
• 18:49
  Speaker 1: It's always modulating, it's always shifting and filtering and evolving, and so anytime you have something that was looking to be synth wave, chill wave, whatever, and you have these long sustains, always look at how you can kind of move them around and modulate them and have the sounds actually evolve over time.
• 19:10
  Speaker 1: Is this ready for sync?
• 19:11
  Speaker 1: I think it needs just a little bit of help for editors.
• 19:15
  Speaker 1: The vibe is spot on and I think a description not calling it synth wave is going to do wonders.
• 19:22
  Speaker 1: The title itself, trank Will Drift, I think, is fantastic and does a better job describing what the cue is.
• 19:29
  Speaker 1: I talk about titles and say the title is the promise that the cue has to deliver on, and so yours does that.
• 19:38
  Speaker 1: Yours absolutely does that.
• 19:40
  Speaker 1: So again, timothy, thank you so much for sending that along.
• 19:43
  Speaker 1: I absolutely absolutely dug that.
• 19:47
  Speaker 1: Next up we have Chris Lozier, and Chris says that I am taking a stab at hip hop and trap Trap, going for a positive, uplifting cue.
• 19:57
  Speaker 1: I have a tendency of veering off course and adding sounds and changes that I personally want to hear, rather than staying in bounds of the category and genre, so I end up overwriting, overthinking things.
• 20:06
  Speaker 1: Welcome to the club, chris.
• 20:08
  Speaker 1: Tables to work on or ignorant originality may be both.
• 20:13
  Speaker 1: So this is positive particles and, all right, that was Positive Particles from Chris.
• 23:11
  Speaker 1: Chris, thank you so much for sending that along.
• 23:15
  Speaker 1: I really liked this.
• 23:16
  Speaker 1: You are right, though.
• 23:18
  Speaker 1: What is it?
• 23:18
  Speaker 1: Hip hop trap?
• 23:23
  Speaker 1: No, I feel like it has positive, uplifting, 100%.
• 23:28
  Speaker 1: You are spot on with that.
• 23:30
  Speaker 1: It gave me more kind of like Al City vibes, which I flip and love Al City, but it's not hip hop, it's our trap.
• 23:39
  Speaker 1: It felt more pop, edm kind of thing, which is what kind of Al City is, and image and heap and that kind of vibe.
• 23:49
  Speaker 1: If we were going hip hop, the 808s would need to be me much, much stronger.
• 23:55
  Speaker 1: The trap hats, stutters, drills, that kind of thing.
• 24:01
  Speaker 1: That's not what's happening here, but I loved it.
• 24:05
  Speaker 1: I really liked it, though we don't need two breakdowns here.
• 24:09
  Speaker 1: I think we need to figure out which we want to do.
• 24:12
  Speaker 1: We are at 140 here.
• 24:17
  Speaker 1: Let's change our tempo to 140.
• 24:20
  Speaker 1: I want to see what it would sound like if we just skipped over.
• 24:26
  Speaker 1: I'm going to adjust that.
• 24:33
  Speaker 1: What would happen if we did something like this?
• 24:37
  Speaker 1: So I'm going to try to shave off some tits.
• 25:07
  Speaker 1: I'm going to try to shave off some time here.
• 25:11
  Speaker 1: This might sound good.
• 25:15
  Speaker 1: All right.
• 25:23
  Speaker 1: One, two, three, four.
• 25:24
  Speaker 1: You know what?
• 25:26
  Speaker 1: Nope, let's just get on with it.
• 25:32
  Speaker 1: Let's just get on with it, is that right?
• 25:35
  Speaker 1: No, let's put it right there.
• 25:36
  Speaker 1: One, two, three, four.
• 25:42
  Speaker 1: It was terrible, but fathom the concept, okay.
• 25:52
  Speaker 1: So some weird timing things going on here.
• 25:55
  Speaker 1: I think this is an input error.
• 26:07
  Speaker 1: At the end of the day, this is not the hill I need to die on today.
• 26:12
  Speaker 1: I don't want to get too bogged down, okay, but you get the idea.
• 26:18
  Speaker 1: The timing isn't yeah, yeah, one, two, yes, that guitar freaking guitar hero man.
• 26:35
  Speaker 1: All right.
• 26:45
  Speaker 1: So this is really really nice.
• 26:47
  Speaker 1: The mix is good.
• 26:50
  Speaker 1: The title is good.
• 26:53
  Speaker 1: Is it sinkable?
• 26:56
  Speaker 1: I'm not sure.
• 27:03
  Speaker 1: I'm trying to imagine it sounds like title, like a title card, title music.
• 27:09
  Speaker 1: I'm trying to imagine it kind of fitting into the background of a scene here at the top.
• 27:16
  Speaker 1: I think we're close.
• 27:17
  Speaker 1: I think we're close.
• 27:18
  Speaker 1: And here's the thing you know, one of the things that we have to do in the production music world is we are ultimately writing passive music.
• 27:34
  Speaker 1: It's passive music.
• 27:36
  Speaker 1: This is an active piece of music, meaning it demands attention.
• 27:44
  Speaker 1: It's really good.
• 27:45
  Speaker 1: I love it.
• 27:47
  Speaker 1: I want to sit and listen to this, but can it fit into the background of a scene and that might be challenging, not saying impossible, but I'm trying to imagine a scene that it could work in.
• 28:04
  Speaker 1: You know, genre and category, I think is not the issue, because we can get away with something that sounds kind of out there.
• 28:16
  Speaker 1: But I think it's just, it demands too much of the listener.
• 28:24
  Speaker 1: I'm not sure it's going to fit into the background.
• 28:27
  Speaker 1: Yeah, shannon says I like the transformer-esque rise coming out of that.
• 28:32
  Speaker 1: Ronnie says I was lost in the music of the guitars.
• 28:35
  Speaker 1: I'm just reading through the chat.
• 28:43
  Speaker 1: Mike says the track works for an uplifting feature for sports, but it's my understanding that features are hard to get.
• 28:49
  Speaker 1: Yeah, it's not going to sit underneath the scene with a ton of dialogue.
• 28:54
  Speaker 1: It's not a background piece, in which case it would be a featured piece.
• 28:58
  Speaker 1: So as long as we are in that vein, then I think we're good.
• 29:03
  Speaker 1: But to be honest, if I were you, I'd put this out and release it on Spotify.
• 29:07
  Speaker 1: Yep, for us production music, composer writing, passive music, and what makes this active, especially here at the end?
• 29:20
  Speaker 1: It's kind of too much happening here at the end.
• 29:25
  Speaker 1: I butchered that transition.
• 29:37
  Speaker 1: I don't know, it's just a feeling I get.
• 29:45
  Speaker 1: Trace says infographic, possibly, possibly.
• 29:49
  Speaker 1: I could see it used in an ad where there was not a lot of dialogue but just floating graphics and that kind of thing.
• 29:57
  Speaker 1: It could be.
• 29:58
  Speaker 1: It could be.
• 29:59
  Speaker 1: Yes, yeah, I would love to have you.
• 30:02
  Speaker 1: We're going to be doing it twice a year or so, Twice a year.
• 30:08
  Speaker 1: Yep, yep.
• 30:10
  Speaker 1: Trace says pre-meeting hype.
• 30:11
  Speaker 1: Oh yeah, this is definitely like countdown, you know, because I could easily go up to my countdown.
• 30:18
  Speaker 1: You like, imagine this, right, like we are counting down, we are coming in live in five minutes here, right, that works, that works.
• 30:35
  Speaker 1: So I'm not going to say no, it would be hard to find a niche for it, but I think once it found a home, it would be really well received.
• 30:48
  Speaker 1: I've used this analogy before, but it's a little bit like four-wheel drive.
• 30:52
  Speaker 1: Some cues are like four-wheel drive you don't really need them often, but when you need it you're going to be really glad you have it.
• 30:59
  Speaker 1: So, thank you.
• 30:59
  Speaker 1: Thank you so much for sending that along.
• 31:02
  Speaker 1: I really really do appreciate.
• 31:04
  Speaker 1: Appreciate you there.
• 31:06
  Speaker 1: All right, next up we have we have Manuel, and Manuel says I just uploaded my track from last week's Expedition 52, welcome Climber, a dramatic underscore that I hope is suitable for emotional, reflective scenes.
• 31:25
  Speaker 1: So let's take a listen to Forged in the Fires of Tomorrow and talk about it.
• 31:31
  Speaker 1: All right, that was Forged in the Fires of Tomorrow from Manuel Manuel.
• 33:46
  Speaker 1: Thank you so much for sending this along.
• 33:47
  Speaker 1: I absolutely loved this.
• 33:49
  Speaker 1: That repeated motif is really, really nice and the perfect type of super simple melody that works well.
• 33:58
  Speaker 1: Passively Right, you know that's going to be like the name of the game here is writing passive music, and it's repetitive, which is great.
• 34:07
  Speaker 1: And you do a lot of what I call static melody work, where the melody stays the same but the chords change underneath it, creating the illusion that the melody is changing only because what is and isn't a chord tone shifts when the chords change underneath it.
• 34:22
  Speaker 1: It's like this slide of hand you're getting extra mileage out of what is relatively simple melody.
• 34:29
  Speaker 1: That having been said, I had what I call a rhythmic vertigo at the beginning of this.
• 34:36
  Speaker 1: I couldn't tell where one is, and we have to think.
• 34:39
  Speaker 1: You know, think like an editor.
• 34:40
  Speaker 1: When an editor is playing a cue, they are like ticking off measures and because they're thinking edit points and loop points and all that kind of stuff.
• 34:49
  Speaker 1: So if I'm thinking, see, now I'm trying to unhear it.
• 34:54
  Speaker 1: One, two, three, four.
• 34:59
  Speaker 1: One, two, three, four.
• 35:02
  Speaker 1: One, two, three, four.
• 35:05
  Speaker 1: So because the melody doesn't start on the one, it's the one E, right, it's the E in the E of the beat, which is great.
• 35:20
  Speaker 1: Don't change the melody.
• 35:21
  Speaker 1: I'm not telling you to squareify the melody, but we're probably going to have to establish, like this is the downbeat and so a couple of ways that we can do that to help ground the pulse is coming at the downbeat like a little or a little symbol scrape I mean, I do symbol scrapes like this all the time in a really soft sonic boom at the beginning, just.
• 35:45
  Speaker 1: And so now that I know that it just grounds it and it won't create issues, because also when something is in the background being passively absorbed by the listener, they are also kind of ticking measures off, even on a subconscious level, and if something feels like it's not grounded in in a nice kind of predictable chunk, then it could create a disorientation, not a huge deal.
• 36:28
  Speaker 1: The strings are really really nice through this, if not a little wide.
• 36:40
  Speaker 1: Let's look at our insight meter and see how wide the strings.
• 36:46
  Speaker 1: Yeah, do you see how it's kind of?
• 37:00
  Speaker 1: It's kind of this way a little bit.
• 37:03
  Speaker 1: It's kind of leaning to the left and I think that's because that cello is so wide.
• 37:08
  Speaker 1: I would go in there.
• 37:09
  Speaker 1: You might have to counter, pan it to kind of bring it center.
• 37:11
  Speaker 1: Don't turn it mono.
• 37:12
  Speaker 1: But it's just a feeling, a little what's in?
• 37:20
  Speaker 1: A fan of that symbol sound feels a little tingy and later you bring in some percussion, your instincts are right, but they're not moody and ambient enough.
• 37:33
  Speaker 1: It sounds like All right, it sounds like.
• 37:40
  Speaker 1: It sounds like a dude playing a symbol and I think the little bongo kind of sound or the little, the little little small, it sounds like a.
• 37:50
  Speaker 1: It sounds like you know, a karate kid, those little drums that like Mr Miyagi was playing, where they flip back and forth.
• 37:55
  Speaker 1: There's actually name for that.
• 37:57
  Speaker 1: That's what that drum sounds like.
• 37:59
  Speaker 1: It needs a little bit more reverb a little bit, but just needs to be more ambient and moody, I think.
• 38:04
  Speaker 1: But otherwise I really really like this and Forge in the Fires of Tomorrow.
• 38:11
  Speaker 1: I would name it in this Forged, forged in Tomorrow, or Forged through Tomorrow, or in the Fires of Tomorrow, forged in the Fires of Tomorrow.
• 38:21
  Speaker 1: I think it's too long.
• 38:22
  Speaker 1: One, two, three, four, five, that's six words.
• 38:25
  Speaker 1: You know it's getting a little long, a little wordy in the Fires of Tomorrow through the Fires of Tomorrow, that's.
• 38:33
  Speaker 1: I would probably do something like that.
• 38:34
  Speaker 1: I like Fires of Tomorrow.
• 38:37
  Speaker 1: It's a little.
• 38:38
  Speaker 1: It's a little artsy, right, and if the title is a promise that the cue delivers on, it's a little abstract, but I like it.
• 38:46
  Speaker 1: And then probably don't need this, this coda at the end.
• 38:50
  Speaker 1: I don't think we need that.
• 38:52
  Speaker 1: I don't think we need it.
• 38:54
  Speaker 1: It's just sort of a trailer than a coda like that.
• 38:57
  Speaker 1: But no, just go ahead and end and watch that symbol.
• 39:02
  Speaker 1: That symbol's really crisp and just a little too sibilant there at the end.
• 39:10
  Speaker 1: Dindindiko, thank you, mad about nothing with the assist.
• 39:13
  Speaker 1: I'm just like those.
• 39:15
  Speaker 1: Mr Miyagi drums and no, they have a name.
• 39:17
  Speaker 1: Dave, come on, you're a percussionist.
• 39:19
  Speaker 1: Appreciate that.
• 39:21
  Speaker 1: Mad about you or mad about nothing, you could be mad about you too.
• 39:24
  Speaker 1: Thank you, manuel, for sending that along.
• 39:26
  Speaker 1: I really really do appreciate it.
• 39:29
  Speaker 1: Next up we have Mark Morganshaw, and Mark sends along, says Upload a track I just finished tonight for a library brief called Heroic Journey.
• 39:37
  Speaker 1: The brief is looking for big sports events epic, orchestral and hybrid tracks for big sport events epic, heroic, victorious.
• 39:45
  Speaker 1: Meant to say it's 1, 23, and can't share the refs, but this is track number 11 of the year.
• 39:53
  Speaker 1: Nine accepted and two rejects so far.
• 39:55
  Speaker 1: Well, congratulations.
• 39:56
  Speaker 1: Nine by week seven, that's your great pace, man no 11.
• 40:01
  Speaker 1: That's a fantastic pace.
• 40:03
  Speaker 1: So here is Heroic Journey.
• 40:05
  Speaker 1: Sorry, I was writing some notes.
• 42:00
  Speaker 1: Yeah, I got to tell you, dude, I wasn't sure where this was going.
• 42:05
  Speaker 1: But once we got into Act 3 here I'm like all right, now we are here.
• 42:12
  Speaker 1: So this is kind of adhering to trailer structure where we have kind of an Act 1, an Act 2.
• 42:20
  Speaker 1: Here's Act 1, act 2, a big chunky edit point, then an epic Act 3, and then into a coda or a dénumon or return to normal, that kind of thing, and so typical, very, very trailer form which works well for these kind of epic things.
• 42:40
  Speaker 1: I got to tell you I definitely loved 50 seconds to a minute, 50 more than the beginning, and for a couple of reasons.
• 42:49
  Speaker 1: First of all, this little piano motif do-do-boom and beep-a-boom, let's bring, let's start off with the piano.
• 42:56
  Speaker 1: I think we could start more intimately because Act 2 doesn't really push the energy up enough from Act 1.
• 43:04
  Speaker 1: And so I think and I'm not saying I make Act 2 bigger, I think make Act 1 less, and so Right, and so instead of just the strings sawing away the whole time, but and beep-a-boom, and beep-a-boom, beep-a-boom, I think that's really, really effective.
• 43:30
  Speaker 1: It's just kind of too busy right from the beginning and then you're doing a syncopated kind of bass note here all throughout this, the end of Act 1 and into Act 2, which I felt was kind of distracting.
• 43:48
  Speaker 1: Is this right here?
• 43:54
  Speaker 1: So that's cool.
• 44:03
  Speaker 1: It never really settled into the pocket for me, and then did we do that really in Act 3 much so, yeah, now the horns are, sometimes they're moving, and so there's just a lack of consistency.
• 44:25
  Speaker 1: I think in deciding kind of like, here is what everybody's doing and making sure that Act 1 and to Act 2 and Act 3 are all just gradations of that same energy.
• 44:36
  Speaker 1: Personally, I would take the piano, make that the star of the show in Act 1 and then in Act 2, hand it off to the strings.
• 44:47
  Speaker 1: If you are going to do the syncopated thing one and two E right, one E and two E Counting is hard and have everybody really punch it together.
• 45:08
  Speaker 1: Yeah, yeah, but that's gold, this is solid gold from 50 seconds out, and then I would probably put a little little something to help set up Act 1.
• 45:33
  Speaker 1: In fact I wonder.
• 45:34
  Speaker 1: I just want to see what this would sound like.
• 45:38
  Speaker 1: Oh, why we're here.
• 45:41
  Speaker 1: I got to talk about this note, all right.
• 45:51
  Speaker 1: So you're outlining an A minor triad here Let me get my big piano here, all right.
• 46:15
  Speaker 1: And so you go up to the C.
• 46:16
  Speaker 1: You got to change one of those notes and I would change.
• 46:18
  Speaker 1: I would change that note there, the A to a G, because otherwise you're essentially still doing an A minor 7 chord in an inversion, an A minor over C and that sounds weird and playing the 6th.
• 46:39
  Speaker 1: And it works for Duke Ellington, right, but I'm not sure it's working.
• 46:45
  Speaker 1: It's creating a little crunchiness right there.
• 46:46
  Speaker 1: But then go and then and the same thing's happening there.
• 47:02
  Speaker 1: I think we need to.
• 47:02
  Speaker 1: Or, yeah, just move it, move it there.
• 47:08
  Speaker 1: I'm not sure that's working, but but otherwise, man, really nice work, I dig it.
• 47:15
  Speaker 1: Those are my thoughts for you, man, and I really do appreciate you sending, sending that along.
• 47:23
  Speaker 1: I really really dug that.
• 47:24
  Speaker 1: Thank you very much, mark.
• 47:26
  Speaker 1: Next up, dolpho.
• 47:27
  Speaker 1: Dolpho is worked for Duke.
• 47:30
  Speaker 1: Yeah, I mean, yeah, duke normalized the major 6 chord as a as tonic Dolpho says upload on my modern noir tension.
• 47:42
  Speaker 1: It's written for week five and is also written for the taxi listing.
• 47:44
  Speaker 1: Oh, this is such an interesting taxi brief that I've seen a modern noir style crime drama hybrid instrument.
• 47:52
  Speaker 1: Oh my god, let's just keep throwing terms.
• 47:55
  Speaker 1: Let's just keep throwing terms together.
• 47:58
  Speaker 1: All right, so this is city of secrets.
• 48:00
  Speaker 1: We're gonna take a listen to it and then talk about it on the other side.
• 48:03
  Speaker 1: So so, so, all right, that was city of secrets from Dolpho Dolpho.
• 49:54
  Speaker 1: Thank you so much for sending this along.
• 49:56
  Speaker 1: First of all, this is such a fascinating brief.
• 49:59
  Speaker 1: I've seen a few other cues come through the community with this and I gotta say you guys are killing it.
• 50:05
  Speaker 1: It's such an interesting brief.
• 50:07
  Speaker 1: It's like this noir thing, and all of the references start yeah, so I think this is spot on.
• 50:14
  Speaker 1: Now, of course, for the record, I don't work for taxi.
• 50:17
  Speaker 1: You know, if you've been following this podcast, I have somewhat of a love hate relationship oh, saying the quiet parts out loud love hate relationship with the taxi screeners.
• 50:28
  Speaker 1: I can't crawl into their head as much as I would like to.
• 50:31
  Speaker 1: So I think this is fantastic in terms of being a hybrid noir.
• 50:37
  Speaker 1: Could it be a little jazzier, maybe, maybe, but I think this is really, really working.
• 50:44
  Speaker 1: Man, you've done a really fantastic job of kind of blending these pulsing tension elements with the, the trumpet, which feels maybe a little loud in the mix.
• 50:55
  Speaker 1: I love all the pulsing and the ticking.
• 51:02
  Speaker 1: I think that works really really well.
• 51:04
  Speaker 1: About halfway through there's like a yeah, right there and maybe this is like a found sound thing.
• 51:24
  Speaker 1: It feels like like paper, like you went like, which I think is very cool.
• 51:33
  Speaker 1: You know I love putting recorded elements, but there's some quantization things going on.
• 51:37
  Speaker 1: It feels out of time.
• 51:38
  Speaker 1: Yeah, it's just not settling in and I thought that was distracting.
• 51:49
  Speaker 1: Also, watch the, the pulsing, that part.
• 51:55
  Speaker 1: Let's look at uh, this is pretty, pretty wide too.
• 52:00
  Speaker 1: It's, it's, it's almost uh, that's.
• 52:04
  Speaker 1: I think it's too wide.
• 52:05
  Speaker 1: I think that this is spread out too thin.
• 52:07
  Speaker 1: It feels kind of fazing and weird, distractingly so.
• 52:10
  Speaker 1: So just be careful, just be careful.
• 52:18
  Speaker 1: And the fact that it's a low frequency and having low frequencies spread that much.
• 52:23
  Speaker 1: I think it's.
• 52:25
  Speaker 1: Uh, dolpho says it's a Steve Slate brushed snare.
• 52:29
  Speaker 1: Uh, is it maybe just a quantization thing?
• 52:31
  Speaker 1: Because I mean, brushed snare is one of the most challenging.
• 52:35
  Speaker 1: It's one of the remaining bastions of good MIDI, right, everything else in the percussion world has been sampled and there's a reason that I never mic my drums, which look great in the shot, and I don't play them as often as I could, but if I need to record drums, I'm probably gonna use samples.
• 52:54
  Speaker 1: But there are some things which I will record, and brushed snare and just kind of stirring and that kind of thing, and like light brush on cymbals and that kind of stuff.
• 53:06
  Speaker 1: Oh, that is really really challenging to pull off on MIDI, but I really really like this man, really really dug it.
• 53:15
  Speaker 1: I think it's a home run, considering what they're asking for Just here.
• 53:22
  Speaker 1: At the end, though, can we hold off the resolution of your trumpet?
• 53:33
  Speaker 1: Just hold that now so it all arrives together.
• 53:40
  Speaker 1: I think that would be more effective.
• 53:42
  Speaker 1: I felt like the.
• 53:43
  Speaker 1: What it sounds like is the trumpet botched.
• 53:46
  Speaker 1: The ending, that's what it sounds like, you know.
• 53:50
  Speaker 1: It's like three fermata like, and the conductor is gonna cue the band and the trumpet goes doh because the trumpet player is like not even paying attention and he looks up, you know, and they go oh, sorry, sorry, buddy, that's what it looks like.
• 54:02
  Speaker 1: That's what it sounds like to me, but I dug this.
• 54:06
  Speaker 1: And a city of secrets, 100%, man.
• 54:09
  Speaker 1: I think that's a fantastic, fantastic title.
• 54:12
  Speaker 1: Dolpho, thank you so much for sending this along and best of luck.
• 54:17
  Speaker 1: Please keep us posted and if you get a forward or placement, any of these cues, if you get forwards and get placements, please shout about it from the rooftops there over in the community.
• 54:28
  Speaker 1: We would love to love to hill here from you for sure.
• 54:33
  Speaker 1: Next up, doug is telling us about In the Pocket, which is an upbeat horn based instrumental for a library album he's working on.
• 54:41
  Speaker 1: The reference is Feel it Still by Portugal the man.
• 54:45
  Speaker 1: Unfortunately I can't play it because I like copyrights and stuff, but he made some tweaks and so here is In the Pocket, anges by Mel palms Lines Music.
• 56:09
  Speaker 1: Music.
• 56:10
  Speaker 1: All right, that was in the pocket from Doug Doug.
• 56:28
  Speaker 1: Thank you so much for sending this along and I hope that Doug's doing well.
• 56:32
  Speaker 1: He lives in Orlando, also works at Full Sail.
• 56:34
  Speaker 1: Doug, you are the man.
• 56:35
  Speaker 1: This is fantastic.
• 56:36
  Speaker 1: I'm a huge fan of your guitar work and I think this type of cue purpose perfectly illustrates the idea of a passive cue.
• 56:46
  Speaker 1: It's interesting, but you can clearly hear, like the new Motorola of course is Motorola still a company?
• 56:53
  Speaker 1: Okay, the new T-Mobile?
• 56:55
  Speaker 1: You know Google Pixel 3 with 400 cameras on the back.
• 56:59
  Speaker 1: You know all of those types of things.
• 57:00
  Speaker 1: You can absolutely hear that and hear dialogue over it.
• 57:04
  Speaker 1: I think this is really working well.
• 57:08
  Speaker 1: I got to tell you when the drum, when the drum groove came, it was bap-a-doom-ba-ba-boom-boom.
• 57:16
  Speaker 1: I, the drummer in me, wanted a half-time groove because you got a lot of boop-chack-a-boop-chack-a-boop, which is cool.
• 57:23
  Speaker 1: But what would happen if you did this?
• 57:26
  Speaker 1: You can have your cake and eat it too.
• 57:36
  Speaker 1: You can have the claps and the other rim-shot, rim clicks doing the half-beats.
• 57:41
  Speaker 1: Because when I think in the pocket, you know, I don't think boop-tap-a-boop-tap-a-boop-tap-a-boop, no, that's a little bouncy.
• 57:50
  Speaker 1: But if you're thinking boop-tap-a-boop-tap-a-boop-tap-a-boop, right, more Steve Gad, more Bernard Purdy.
• 57:58
  Speaker 1: You know that kind of sound, right, you know, david Garibaldi, and then, and then when you come out of the breakdown, you can have and then go to a double time, and so going into double time becomes another gear of energy that you can throw into it.
• 58:31
  Speaker 1: So then it becomes more like a shout chorus type of energy, which I think could be really, really cool.
• 58:42
  Speaker 1: Now let's talk about this guitar solo.
• 58:43
  Speaker 1: At the end I liked it, but it was too repetitive and a little boring.
• 58:48
  Speaker 1: That's cool, all right, okay.
• 59:02
  Speaker 1: And then that's like the same thing, and this is the same thing.
• 59:04
  Speaker 1: All right.
• 59:04
  Speaker 1: So let's craft a longer four bar idea.
• 59:08
  Speaker 1: You know, just take it up higher, because now it sounds like a loop and we don't want it to sound like a loop, and then I would double that up with an octave above it to give it another gear of energy.
• 59:31
  Speaker 1: Horns sound great, man.
• 59:34
  Speaker 1: Horns sound great.
• 59:34
  Speaker 1: I love the shouts.
• 59:36
  Speaker 1: Great ending, but it's not necessarily on the downbeat, but all the horn stabs and everything really really add to that.
• 59:48
  Speaker 1: And so, yeah, lots of chatter in there.
• 59:51
  Speaker 1: Nathan says love Portugal, the man.
• 59:54
  Speaker 1: You're getting the sound, that is for sure, especially the guitars.
• 59:57
  Speaker 1: Trace's chair dancing it's a mood lifter and Shannon's liking the B 52s vibe to it.
• 1:00:02
  Speaker 1: But really good work, man.
• 1:00:04
  Speaker 1: And again, I'm a huge fan of your guitar work.
• 1:00:06
  Speaker 1: I would just yeah, I would just do like halftime drum stuff, man, and maybe layering some claps on two and four a little bit later.
• 1:00:13
  Speaker 1: That could be cool.
• 1:00:14
  Speaker 1: All right, I really really appreciate you, doug.
• 1:00:16
  Speaker 1: Thanks for sending that along.
• 1:00:19
  Speaker 1: Next up we have James, and James says I uploaded an orchestral piece.
• 1:00:24
  Speaker 1: This is not for a brief, but I'm trying to compose with a fuller orchestral texture.
• 1:00:29
  Speaker 1: I've been studying about mixing for orchestra and I'm still improving.
• 1:00:32
  Speaker 1: And let's take a listen to time gone by.
• 1:00:36
  Speaker 1: Oops, make sure we get everything and it's a little.
• 1:00:41
  Speaker 1: A little long.
• 1:00:41
  Speaker 1: It's for a foreign some change.
• 1:00:44
  Speaker 1: A little bit long here.
• 1:00:45
  Speaker 1: All right, that was time gone by by James Oakden.
• 1:05:22
  Speaker 1: James, thank you so much for sending this along.
• 1:05:25
  Speaker 1: I got to say your orchestral program is.
• 1:05:26
  Speaker 1: Programming is pretty good, man.
• 1:05:28
  Speaker 1: We've got a lot of great things going on.
• 1:05:31
  Speaker 1: Now, all that having been said, looking at this through the lens of production music is nearly impossible, because this is going to be way too long for a library to use for production track.
• 1:05:40
  Speaker 1: It's more like a cue lifted from a film, which is great, and I also recognize that this was more of an orchestration programming and mixing exercise for you, which is totally great, right, but to answer the question out of the gate is it ready for sync?
• 1:05:59
  Speaker 1: I think it's too long to be a cue usable from a library.
• 1:06:04
  Speaker 1: It kind of travels through too many emotions.
• 1:06:08
  Speaker 1: I think that would make an editor kind of their lives a little bit challenging, to be true.
• 1:06:16
  Speaker 1: I mean, to be honest, you probably have two cues, two or three cues within here that you could probably just edit and lift out.
• 1:06:21
  Speaker 1: But you did do a good job of having a theme and bringing it, bringing it around, especially there at the end.
• 1:06:28
  Speaker 1: From a mixing standpoint I thought we were in pretty good shape.
• 1:06:33
  Speaker 1: When the lows came in I felt like, is it right here?
• 1:06:37
  Speaker 1: I felt like there was a click or something.
• 1:06:40
  Speaker 1: Yeah, there's a little click and it's somewhere right around 40 or 50 Hertz or so it's clicking.
• 1:06:58
  Speaker 1: I don't know if it's a low sub or something like that.
• 1:07:01
  Speaker 1: I know that when I add sine waves, like low sub sine waves, to orchestral cues which sounds like it might be what you've got going on here, and if not, I would recommend that it's really hard to get 40 and 50 Hertz out of an orchestral double bass and so adding a soft sine wave just to thicken up the sub bass, I think it's a really good idea that I unapologetically stole from Christian Henson.
• 1:07:30
  Speaker 1: But in my instrument that I made, which is just a sampler in Logic with nothing loaded, it's a sine wave.
• 1:07:38
  Speaker 1: If I have it at full volume it will click on the downbeat unless you go in and adjust the attack envelope.
• 1:07:45
  Speaker 1: So you do want to.
• 1:07:46
  Speaker 1: That's what it sounds like.
• 1:07:48
  Speaker 1: I'm not saying that's what it is, but or if it's not that, then there's a Grand Casa, a big concert bass drum which is clicking and the attack envelope is just so.
• 1:08:02
  Speaker 1: It's so big and thick.
• 1:08:05
  Speaker 1: I would be really careful.
• 1:08:10
  Speaker 1: Do watch some of the quantization of the short notes.
• 1:08:15
  Speaker 1: This is one of the things that could be really challenging when you're dealing with orchestral instruments that are recorded live like really good samples.
• 1:08:24
  Speaker 1: When you have a woodwind or a string instrument with short notes, it takes time for air to start moving through an instrument or a bow to start moving on a string, and so that creates a few milliseconds of delay.
• 1:08:38
  Speaker 1: We're talking five to 10 milliseconds of delay that you have to compensate for to get them all lined up together and it sounds I'm going to find it See the doop, dee, doop, dee, doop, dee, doop, dee, doop, dee, which is really well done, but it feels like it's dragging Right.
• 1:09:11
  Speaker 1: It just doesn't feel like everything is really locked in and chances are it's quantized, it's on the grid, but you're going to have to go in and forensically place a lot of those notes, which is exhausting.
• 1:09:22
  Speaker 1: But as soon as we start dealing with real instruments, then we've got to do the work to make sure that they pass off as real, otherwise we are in uncanny valley territory.
• 1:09:33
  Speaker 1: There's that click again.
• 1:09:37
  Speaker 1: This makes me think it's a Grand Casa sample Clicking again right there.
• 1:09:45
  Speaker 1: So I enjoyed this.
• 1:09:47
  Speaker 1: I thought it was really well done and your orchestration chops are really good.
• 1:09:50
  Speaker 1: The, the, the harp glisses and everything were really really nice and I do appreciate you sending that along.
• 1:09:57
  Speaker 1: Thank you very much, james.
• 1:09:59
  Speaker 1: Next up we have Enrico Enrico with ancient Antolians and Anatolian secrets.
• 1:10:05
  Speaker 1: Sadly we'll not be able to make tonight, but here is my offering ancient and Anatolian secrets, a cue that is part of an album of light tension cues I'm currently submitting to libraries with, sadly, not a lot of luck so far.
• 1:10:19
  Speaker 1: Light tension with an eastern Turkish flavor mystery, mystique, intrigue and foreboding overtones, traditional electronic and exotic instrumentation, haunting rhythms and incessant pulses set the stage for adventure, mystery and discovery.
• 1:10:34
  Speaker 1: This is so cool because I'm doing I just wrapped up an album that's very similar to this and so I'm very interested to hear yours.
• 1:10:43
  Speaker 1: This is ancient and Anatolian secrets.
• 1:10:46
  Speaker 1: All right, that was ancient and Anatolian secrets from Enrico Enrico.
• 1:12:42
  Speaker 1: Thank you so much for sending this along.
• 1:12:45
  Speaker 1: I did enjoy this.
• 1:12:46
  Speaker 1: I liked this pulse.
• 1:12:47
  Speaker 1: I think it was really, really cool and it's really interesting, looking at the sound wave coming out, that you could clearly see the the overtone series.
• 1:12:59
  Speaker 1: It's this nice round overtone series coming up that, having been said, there were some really high resonances which I imagine are going to gonna cause cause some problems.
• 1:13:14
  Speaker 1: And when I talk about resonances, you know, if we're looking at the overall general mix thickness, if you have certain frequencies which are spiking out in this case, some of them are nine to 12 dB over where the rest of the mix is then we probably need to tamp those down.
• 1:13:37
  Speaker 1: And there were some, really some really high ones here at the end.
• 1:13:42
  Speaker 1: Let me see if I can't freeze those Boom Wow, those really high were coming in at like 12K, 17k Again, you know the dogs are barking in the neighborhood.
• 1:14:00
  Speaker 1: In this case we have a general around minus 12 to minus 6 dB and some of these spikes are reaching into plus nine dB over unity and so we have to be really careful.
• 1:14:15
  Speaker 1: These are spiking out really, really hard and if you can't hear them like, to be honest, I can't hear them super loud in my headphones again, because a I am now over 50 and I'm a lifelong drummer and so hearing much above 15 to 16K is honestly, a real challenge for me.
• 1:14:34
  Speaker 1: So I have to trust my meters, and my meters are telling me oh my gosh, we've got to tamp those things down.
• 1:14:40
  Speaker 1: So be really, really careful there.
• 1:14:43
  Speaker 1: Another note the brief asks for exotic instruments which, to be honest, I spent the first 55 seconds wondering where are my exotic instruments.
• 1:14:53
  Speaker 1: And so if, if a library punched this in, say, hey, turkish influences, if they punched in Turkish flavor mystery, if they used this description, you don't really get into the Turkishness until a little bit later, until almost like 55 seconds in, in which case the first 55 seconds of this cue is essentially not usable for a library or for an editor who has a scene based in Morocco or something like that.
• 1:15:28
  Speaker 1: So I think we could sprinkle those things.
• 1:15:30
  Speaker 1: We don't have to be super heavy handed, but I think we could sprinkle those elements in earlier easily within the first 15 seconds of the cue.
• 1:15:39
  Speaker 1: At least play your cards.
• 1:15:42
  Speaker 1: That this is what this cue is about, because to this point this is pretty.
• 1:15:55
  Speaker 1: There's nothing exotic necessarily about this, and so you know the type of sound to pick.
• 1:16:04
  Speaker 1: You could throw in a duduk in there.
• 1:16:05
  Speaker 1: You can put one duduk sound in there, or a vocal, a vocal something or other, or bring in some of your instruments in a little early, just sprinkle them in so that it's exotic from from the get go.
• 1:16:21
  Speaker 1: I like the vibe of this and I wonder if, if at some point we should that that main pulse, the main character here, can we start it a little filtered and then just kind of open it up as it goes and gets brighter and brighter, and then, after this edit point and I didn't like that kind of wind down I would do my go or something like that.
• 1:16:52
  Speaker 1: Can we I was thinking maybe filter the filter the base back down and have it open up again so that we essentially have an, a structure with a, and then a again building or Trying to trying to bring in a breakdown or something.
• 1:17:20
  Speaker 1: That's a nice note, that's a nice note choice.
• 1:17:33
  Speaker 1: Yes, some of some of these overtones and upper harmonics are going to be a real challenge.
• 1:17:38
  Speaker 1: And then going into your, into your button here yeah, let's, let's not get too cute here, let's just, let's just stick the landing.
• 1:18:00
  Speaker 1: Yeah, let's, let's not get too cute, let's not try to get too creative, just stick the landing.
• 1:18:11
  Speaker 1: Give him a nice soft.
• 1:18:13
  Speaker 1: Yeah, yeah, just stick the landing right there.
• 1:18:21
  Speaker 1: I don't think we need to put a little break in there.
• 1:18:23
  Speaker 1: It gives him a nice clean ending.
• 1:18:25
  Speaker 1: But and I like the title ancient Anatolian secrets I'm gonna have to Google Anatolian.
• 1:18:32
  Speaker 1: What that?
• 1:18:32
  Speaker 1: Mrs 52 keys, are you still in the check?
• 1:18:35
  Speaker 1: Can you tell us what Anatolian?
• 1:18:37
  Speaker 1: I'm afraid to Google it because I don't, I don't, I don't, I don't, I don't want to see you know live what Google results are going to come up.
• 1:18:43
  Speaker 1: But I'm interested in what Anatolian means and I know if Enrico was here he would be able to tell us.
• 1:18:49
  Speaker 1: But, enrico, thank you so much for sending that along.
• 1:18:52
  Speaker 1: Really, really do appreciate it.
• 1:18:55
  Speaker 1: And then, finally, we got one more cue that we are going to be checking out today.
• 1:18:59
  Speaker 1: This is Martin.
• 1:19:00
  Speaker 1: What is good, martin, thank you so much for for sending along the princess coming.
• 1:19:04
  Speaker 1: I tried my hands at an orchestral epic piece and I'd be interested to know if and how the piece could be improved, be it in the mix or in the instrumentation.
• 1:19:13
  Speaker 1: And yes, I know that editors don't like changes in tonality.
• 1:19:17
  Speaker 1: That was, yeah.
• 1:19:19
  Speaker 1: That's basically saying, dave, don't mention the tonality.
• 1:19:21
  Speaker 1: I know about it, all right, so let's take a listen to the princess coming and talk about it.
• 1:19:25
  Speaker 1: On the other side.
• 1:19:26
  Speaker 1: I'm going to go ahead and stop this.
• 1:19:40
  Speaker 1: This is really soft and we're having trouble, so I'm going to go ahead and just boost the volume here.
• 1:19:47
  Speaker 1: I'm having trouble hearing it.
• 1:20:18
  Speaker 2: I'm going to go ahead and just boost the volume here.
• 1:20:24
  Speaker 2: I'm going to go ahead and just boost the volume here.
• 1:20:31
  Speaker 2: I'm going to go ahead and just boost the volume here.
• 1:20:48
  Speaker 2: I'm going to go ahead and just boost the volume here.
• 1:21:10
  Speaker 1: I'm going to go ahead and just boost the volume here.
• 1:21:20
  Speaker 1: All right, that was.
• 1:21:43
  Speaker 1: The prince is coming from Martin Martin.
• 1:21:47
  Speaker 1: Thank you so much for sending this along.
• 1:21:48
  Speaker 1: Yeah, we've got a pretty just kind of like the cue earlier, pretty standard garden variety trailer cue and I think it works really really well and the key changes in a trailer like this, I think, are really effective.
• 1:22:04
  Speaker 1: That having been said, this ending one chord took me way by surprise.
• 1:22:09
  Speaker 1: No, no, just end on a minor chord and then getting to like that dominant five seven to one feels a little hokey.
• 1:22:22
  Speaker 1: I'm not, I'm not, I'm not digging this at all.
• 1:22:24
  Speaker 1: Okay, the five seven works, you know, if it's like because we kind of have a five, seven, flat nine vibe to it, but then resolving the flat nine doesn't natively exist in the major key and, yeah, do not like that's a hard pass on that one chord there at the end.
• 1:22:53
  Speaker 1: Not so much Is that a C ending on D, major and again key changes.
• 1:23:10
  Speaker 1: Okay, love the opening.
• 1:23:11
  Speaker 1: This we're going to have to watch some of the volume here.
• 1:23:17
  Speaker 1: The volume is really really really low and so it reminds me of a cue that I, that I put together, that I think has key changes and this one has gotten some love and that.
• 1:23:39
  Speaker 1: Let me go forward a little bit Checking the key change.
• 1:23:54
  Speaker 1: So, yeah, I love me some key changes.
• 1:24:05
  Speaker 1: Having been said, can we make a?
• 1:24:09
  Speaker 1: Was that?
• 1:24:09
  Speaker 1: Was that used for golf?
• 1:24:11
  Speaker 1: Yeah, that was used for golf and it was also used for college football.
• 1:24:14
  Speaker 1: There was a it's when, like Texas played rice, there was a.
• 1:24:19
  Speaker 1: There was an opening feature story.
• 1:24:23
  Speaker 1: The volume at the beginning is really really low and if we look at the, this is this is what this cue is called.
• 1:24:28
  Speaker 1: It's called persistence.
• 1:24:29
  Speaker 1: And if we look at the waveform, the disparity between the different acts, especially act one into act two, isn't that pronounced and so if I were to take this back to its, its original, then it's so quiet.
• 1:24:44
  Speaker 1: I love the parts.
• 1:24:48
  Speaker 1: I think we're in really good shape here.
• 1:24:50
  Speaker 1: And going into act two, we need a little bit more motion going on.
• 1:25:04
  Speaker 1: If we were looking to to this one, starting to, I'm starting to push to three, four, there's more energy pushing forward, right.
• 1:25:22
  Speaker 1: So we jump, jump, jump, jump, push, push, cause right now it feels like it's just relaxing back and push, push, more, push, more and more.
• 1:25:37
  Speaker 1: Of course, I love those horn lines, man, and I did.
• 1:25:53
  Speaker 1: I'm not saying yeah, I do not own this, this type of horn line.
• 1:25:57
  Speaker 1: It works really, really well and just needs more layering, more thickness, more energy, energy, energy, energy.
• 1:26:05
  Speaker 1: Yeah, and that needs to.
• 1:26:13
  Speaker 1: That needs to smack you in the face, right there.
• 1:26:15
  Speaker 1: But but here's, here's what's cool, that's working for me, right.
• 1:26:31
  Speaker 1: The rest of this, martin, this is just craft, this is the craft of doing it Right, and so the composition itself is sound.
• 1:26:39
  Speaker 1: Your instincts for what makes what's going to make a good melody wins and things come in.
• 1:26:43
  Speaker 1: That's all.
• 1:26:44
  Speaker 1: That is all teachable.
• 1:26:47
  Speaker 1: What's the tough, what's tougher?
• 1:26:49
  Speaker 1: Not impossible, mind you.
• 1:26:50
  Speaker 1: I believe anybody can compose and I believe anybody can be creative, but the instincts of this is what's working.
• 1:26:58
  Speaker 1: This is kind of what what we need here.
• 1:27:01
  Speaker 1: This is the type of string, ostinato, and so I think it.
• 1:27:05
  Speaker 1: Their instincts are spot, are spot on approach.
• 1:27:11
  Speaker 1: Your key change.
• 1:27:12
  Speaker 1: You better like, really really build it, and it needs to smack you in the face, going back to persistence, and you can see the waveform gets denser and denser, and then I start adding some back beats.
• 1:27:43
  Speaker 1: So it's, it's, I've been going, and then I lay into a groove which you have here.
• 1:27:52
  Speaker 1: Again, your instincts are spot on.
• 1:27:54
  Speaker 1: Tubular bells, it's all there.
• 1:28:01
  Speaker 1: I think it's just a matter of of working the craft.
• 1:28:05
  Speaker 1: Mikal is saying some really, really nice things.
• 1:28:07
  Speaker 1: Really appreciate, really appreciate that.
• 1:28:09
  Speaker 1: And good to see Jeff, jeff LePlant, in the house.
• 1:28:12
  Speaker 1: Good to see you.
• 1:28:13
  Speaker 1: Good to see you, mikal.
• 1:28:14
  Speaker 1: What are you doing?
• 1:28:15
  Speaker 1: Wake man?
• 1:28:15
  Speaker 1: Isn't it like 1130 at night in the Czech Republic?
• 1:28:21
  Speaker 1: What are you doing?
• 1:28:21
  Speaker 1: Aw, night owl.
• 1:28:23
  Speaker 1: Now, now going to persistence.
• 1:28:34
  Speaker 1: Let's see how I ended it.
• 1:28:36
  Speaker 1: On a cliffhanger, right, that's a cliffhanger.
• 1:28:44
  Speaker 1: And then go back this is the coda and a little tubular bell into the end.
• 1:28:57
  Speaker 1: Right and so.
• 1:28:58
  Speaker 1: And so, martin, thank you so much for sending that along.
• 1:29:02
  Speaker 1: I think I don't think it's quite ready for sync yet.
• 1:29:05
  Speaker 1: I think it needs some work, needs some mixed work and it needs some some layering work.
• 1:29:10
  Speaker 1: But really really do appreciate you sending that along.
• 1:29:15
  Speaker 1: So so many nice things.
• 1:29:16
  Speaker 1: Trace the Lomain has arrived.
• 1:29:19
  Speaker 1: Well, this is perfect timing.
• 1:29:21
  Speaker 1: It's 2330.
• 1:29:23
  Speaker 1: You Europeans and your 24 hour time.
• 1:29:25
  Speaker 1: What's that?
• 1:29:26
  Speaker 1: 1130, right In Austria.
• 1:29:29
  Speaker 1: Thank you so much everybody for joining me today.
• 1:29:32
  Speaker 1: And remember, hey, if if you are looking for feedback on your own cues, you can order up your own cue at ismyqreadycom.
• 1:29:40
  Speaker 1: I would love to help you out and give you a video, a 15 minute video, where I will do everything we did here, and even more in depth, and so I would love to help you out and, like I said, this isn't the last time we're going to do this.
• 1:29:56
  Speaker 1: We're going to be doing these ready for sinks at least, at least a couple of times a year, and really do appreciate you.
• 1:30:06
  Speaker 1: The next live event we have coming up in a few months here on YouTube, open to everybody, is going to be a Q&A, but that is going to do it for me, as always.
• 1:30:16
  Speaker 1: Thank you so much for your support.
• 1:30:17
  Speaker 1: Thank you for the folks who hang out with me in the chat.
• 1:30:20
  Speaker 1: I really, really appreciate you and appreciate the family, friends, neighbor subscribers who pay their actual, real life money to keep all of this happening.
• 1:30:31
  Speaker 1: Notice, you didn't hear any embedded ads for plugins, patches, libraries, meal plans, mattresses, supplements, hair loss treatments.
• 1:30:40
  Speaker 1: Lord knows, I could probably use them, and the reason that is is because of listeners and supporters just like you who help keep all of this happening.
• 1:30:49
  Speaker 1: So I appreciate you, I love you and none of this would at all be possible.
• 1:30:56
  Speaker 1: Shannon, mrs 52Q, anything else, anything else we want to talk about?
• 1:31:00
  Speaker 1: Well, we can talk about next week here on the channel during the podcast.
• 1:31:07
  Speaker 1: Next week I will be joined by TC and Frank from the Music Interval Theory Academy.
• 1:31:13
  Speaker 1: I really enjoyed hanging out with them.
• 1:31:15
  Speaker 1: Mita, they have a fantastic podcast.
• 1:31:18
  Speaker 1: You should go subscribe to that podcast because they are fantastic and what they're doing over there a fourth dimensional way of thinking about music theory.
• 1:31:29
  Speaker 1: But that is going to do it for me this week.
• 1:31:31
  Speaker 1: I hope that you have had an amazing, amazing week and I look forward to talking to you next time.
• 1:31:37
  Speaker 1: And remember, friends, that the universe has amazing plans just for you.
• 1:31:42
  Speaker 1: Until next time, peace.