Latest / 52 Cues - A Production Music and Sync Podcast / Stomp Clap Cue Review

Transcript

Stomp Clap Cue Review · 52 Cues - A Production Music and Sync Podcast

• 0:36
  Speaker 1: What is happening everybody?
• 0:37
  Speaker 1: This is Dave Kroff, and welcome back to another Q review here at 52Qs, where I check out a Q written by a member of the 52Qs community and provide feedback like you'd hear from a music supervisor or a potential library.
• 0:52
  Speaker 1: So we are checking out today a Stomp Clap Q submitted by Mitchell Davis, and so we're going to take a listen to it and then talk about it on the other side.
• 1:01
  Speaker 1: All right, that was Trailer Hall by Mitchell Davis.
• 3:11
  Speaker 1: Mitchell, thank you so much for sending this along.
• 3:14
  Speaker 1: First of all, love, love, love that title.
• 3:17
  Speaker 1: This is a perfect title.
• 3:19
  Speaker 1: I think you're gonna you're gonna win my perfect title award of the day.
• 3:24
  Speaker 1: I think this is really working well.
• 3:26
  Speaker 1: Fantastic riff.
• 3:28
  Speaker 1: It's a little dark in the mix.
• 3:35
  Speaker 1: I felt like we probably could have brought up around 2k, 3k just a little bit just to brighten it up, and it might just be in the guitars.
• 3:49
  Speaker 1: Just bring those up a little bit.
• 3:50
  Speaker 1: And I think we probably could have layered in some more claps.
• 3:55
  Speaker 1: So it's more clap clap and it doesn't have to be anything, anything crazy fancy, just some you know, some one shots or something like that.
• 4:04
  Speaker 1: Love the additional layer here.
• 4:09
  Speaker 1: I think that's really, really working well, nice, that's all working.
• 4:17
  Speaker 1: All right.
• 4:19
  Speaker 1: Now I'm gonna back down that, that EQ that I just added.
• 4:23
  Speaker 1: Let's be careful.
• 4:24
  Speaker 1: Even before then we were, we were getting into the zeros.
• 4:29
  Speaker 1: We can see our peaks are getting into zero, which means I, according to you know, if I were to to get my face kind of out of the way here we could see I'm actually clipping the output bus.
• 4:42
  Speaker 1: So we want to make sure that our in our meters, or in our limiter, rather, that we set our ceiling absolutely no higher than minus point.
• 4:52
  Speaker 1: Now, some of this might be in all fairness, some of this might be the, because they know I pulled this from SoundCloud.
• 5:00
  Speaker 1: Some of this might be Just the compression, adding, adding DB, but I think we should set ours to minus one, I think.
• 5:10
  Speaker 1: So I think this is great right here.
• 5:17
  Speaker 1: It's all working really well.
• 5:23
  Speaker 1: I Would add another guitar layer playing the lick.
• 5:26
  Speaker 1: I can't even have that note, but an octave above it and you don't have to.
• 5:31
  Speaker 1: You don't have to play it again, just take your line and push it up the octave.
• 5:35
  Speaker 1: I feel like we did another An octave above, right there.
• 5:46
  Speaker 1: Now let's watch those drum fills bigger, bigger, bigger.
• 5:50
  Speaker 1: They sound a little mechanical and we're using the same fill every single time.
• 5:57
  Speaker 1: And I tell you what drummers?
• 6:08
  Speaker 1: Drummers are never gonna play the exact same fill every single time, and so it's coming off a little mechanical and it sounds too repetitive.
• 6:17
  Speaker 1: It betrays the fact that you, that you're copying and pasting the same fill and let's, and let's shape the contour of that fill, do the digga, digga, digga, digga, digga, digga, digga, boom, but the back of the good, and not every single.
• 6:34
  Speaker 1: It sounds like the velocities are pretty darn similar.
• 6:37
  Speaker 1: Oh Actually, sounds like big a digga, big a digga, and that would be really really tough to play.
• 6:50
  Speaker 1: Sounds like but, but, but, but, but, but, but, but.
• 6:52
  Speaker 1: Big a digga, big a digga, and and drummers are way too lazy to do that, so we might go big a digga, digga, go, go, digga, digga, digga, go, go, go.
• 7:00
  Speaker 1: Not, she could go, go, go, go, go go.
• 7:01
  Speaker 1: We wouldn't be moving that fast.
• 7:08
  Speaker 1: All right now, going into here, first of all, I think your bass could be louder and I think, I Think we could add a little distortion and instead of the bass Love this, this is nasty, but let's have your bass play the riff.
• 7:26
  Speaker 1: Don't add the lick, yet Don't add the guitar lick.
• 7:44
  Speaker 1: I would take that same lick.
• 7:46
  Speaker 1: So give your bass player the main lick, don't bring in the lick here in the guitar.
• 7:50
  Speaker 1: I would take that and push it an octave down.
• 7:52
  Speaker 1: So it's Right, it's really nasty.
• 7:58
  Speaker 1: And now Not yet, not yet.
• 8:03
  Speaker 1: And then bring bowl.
• 8:09
  Speaker 1: Then bring the the lick back an octave with the octave on top I think that would be chef's kiss and then layer in the octave below from the breakdown.
• 8:34
  Speaker 1: All right, we have to be careful.
• 8:35
  Speaker 1: Coming up right here that sounds like engine engine sound.
• 8:40
  Speaker 1: It's cool, I Dig it.
• 8:45
  Speaker 1: I recognize what.
• 8:48
  Speaker 1: Why we did it.
• 8:48
  Speaker 1: However, this is a major no-no in my experience with production music.
• 8:53
  Speaker 1: If you're making music that you just want to release, cool.
• 8:58
  Speaker 1: But we have to be so careful about using sounds or sound effects which could be considered Diagetic if you're not.
• 9:05
  Speaker 1: If you're not familiar with this term, it's anything that is Interactable in a scene or observable body by the characters in the scene.
• 9:12
  Speaker 1: So like Diagetic music would be if you're.
• 9:17
  Speaker 1: If you see a scene in a bar and you hear music, the idea is that that music is occurring naturally within that space.
• 9:23
  Speaker 1: Where we get into trouble is if we include sound effects in our music that could be considered Diagetic.
• 9:32
  Speaker 1: All right.
• 9:34
  Speaker 1: So let's say that this gets used as a cue placement An episode of ice road, truckers or whatever, which I think is is great Then, if you hear this Right, it could be confusing.
• 9:54
  Speaker 1: It could be confusing for the viewer.
• 10:00
  Speaker 1: They might think that there's a truck going by somewhere on the scene.
• 10:02
  Speaker 1: So we have to be really careful about sounds and sound effects which could sound Diagetic.
• 10:10
  Speaker 1: And I would do a short stab and a long stab.
• 10:13
  Speaker 1: I would go so give.
• 10:16
  Speaker 1: What you're doing is you're giving the editor both options.
• 10:19
  Speaker 1: You give him a short staccato ending, which you have here and then, and then you're also giving him a short staccato ending, which you have here, and then bump, bump, and then you're also giving them a long drawn-out stinger button ending.
• 10:35
  Speaker 1: If you want to throw it a bucket fish there at the end, you can do that.
• 10:38
  Speaker 1: So bum bucket, boom, bucket of Fish.
• 10:42
  Speaker 1: I think that would work.
• 10:43
  Speaker 1: So, mitchell, thank you so much for sending this along.
• 10:46
  Speaker 1: This was sent along during our week 30 weekly feedback threads.
• 10:51
  Speaker 1: We put weekly feedback threads together every single week over at 52 cues.
• 10:55
  Speaker 1: It's really the cornerstone of what we do here and I will be choosing one of these cues written for our week 31 weekly feedback threads on an upcoming YouTube video.
• 11:07
  Speaker 1: So if you would like feedback on your cue and would like to be featured on the channel, then you can check that out and we'd love to have you over at the 52 cues community.
• 11:18
  Speaker 1: But if you found that feedback helpful and you would like feedback on your own cues in a more personal way, then head over to 52 cuescom slash coaching where you can get your own personal 15 minute feedback video where I walk through all the different components of the cue the title, the mix, structure, form, harmonic, all of that business.
• 11:40
  Speaker 1: Then again 52 cuescom slash coaching.
• 11:44
  Speaker 1: And while you're there, you can also check out my other coaching services, including our upcoming mastermind group for the spring of 2024, and book your own one-on-one coaching session.
• 11:56
  Speaker 1: But that's gonna do it for me until next time.
• 11:59
  Speaker 1: Peace 月.