Latest / 52 Cues - A Production Music and Sync Podcast / Americana Hip-Hop Cue Review

Transcript

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

• 0:32
  Speaker 1: What is happening everybody?
• 0:33
  Speaker 1: This is Dave Kroff, and welcome back to another Q review where we feature a Q written by you, a member of the 52 Qs community, and then I provide feedback, like you might hear from a music supervisor or a potential library.
• 0:48
  Speaker 1: So today we are checking out an Americana hip hop Q written by Rolf Schild, so we're going to take a listen to it and then talk about it.
• 0:58
  Speaker 1: On the other side, that was Hopping the Fiddle from Rolf Schild.
• 3:06
  Speaker 1: This was sent along during our week 34 weekly feedback thread and, rolf, thank you so much for sending this along.
• 3:14
  Speaker 1: I absolutely love everything about this.
• 3:17
  Speaker 1: This grooves so hard and such a fresh take.
• 3:20
  Speaker 1: I mean it's one thing to kind of do Americana, but Americana with kind of dobro and fiddle Speaking of.
• 3:27
  Speaker 1: I'm not sure that the fiddle was really prominent enough to be the title.
• 3:34
  Speaker 1: I would say like Hopping the Dobro or Hanging with my Dobro's there's your title, that's the title I would use Like Hanging with my Hobros or Hanging with my Dobro's, something like that.
• 3:53
  Speaker 1: Like Bros Before Dobros or something I don't know.
• 3:59
  Speaker 1: I would do a pun on the term dobro for that, because I think the dobro was a much more kind of prominent feature.
• 4:08
  Speaker 1: Also watch out.
• 4:09
  Speaker 1: We've got a little bit too much silence here at the top, remember, we don't really want more than like 200 milliseconds or so, so I would clean that up just a little bit at the top.
• 4:21
  Speaker 1: I think this is really working.
• 4:22
  Speaker 1: Nice layering bringing in something additional there.
• 4:29
  Speaker 1: I don't know, I think maybe we need to cut one of these phrases down Right, because I think we need to go right into I would go right into the next phrase, I would go right into there.
• 4:56
  Speaker 1: So that's going to be from right here.
• 5:00
  Speaker 1: So let's remove that.
• 5:02
  Speaker 1: Actually, let me slide that down.
• 5:06
  Speaker 1: Let me see how this edit is going to sound.
• 5:08
  Speaker 1: So we'll bring that in.
• 5:10
  Speaker 1: Like I like this at the top.
• 5:14
  Speaker 1: Let's pull that middle section in.
• 5:16
  Speaker 1: Yeah, get on with it, and I would resolve that.
• 5:25
  Speaker 1: Yes, this is all absolutely working.
• 5:35
  Speaker 1: That fiddle is nice.
• 5:37
  Speaker 1: Yep, that chord change, chef's kiss.
• 5:47
  Speaker 1: But my question, rolf, why did you only put that really, as the kids say, dope AF?
• 5:56
  Speaker 1: Why did you put that really fantastic chord change only in that one spot?
• 6:02
  Speaker 1: That's so good.
• 6:04
  Speaker 1: Yes, yep, yep.
• 6:13
  Speaker 2: This sounds so good.
• 6:20
  Speaker 1: And again, we need to stick the landing and I would ditch the bottom dobro.
• 6:36
  Speaker 1: By this point we're good and I've trimmed out five seconds, so according to the original we're a good 50 seconds.
• 6:45
  Speaker 1: We're almost a full minute in.
• 6:46
  Speaker 1: We've been hearing for like a minute straight and so it's a little played out.
• 6:52
  Speaker 1: I would ditch it here Now.
• 6:54
  Speaker 1: Your instinct was to ditch it later.
• 6:58
  Speaker 1: I would ditch it right there.
• 7:00
  Speaker 1: In fact, I wonder if we should just swap out these song sections, because you go boom, which we've had before, which is totally fine, but I wonder how it would sound if we come out of this section into that new section.
• 7:33
  Speaker 1: Right, all right, so we've obviously that Take this up a gear, a gear more, but this, this feels just a little anticlimactic.
• 7:55
  Speaker 1: It's good, I like.
• 7:57
  Speaker 1: I like the dobro, the top dobro line, so you know what?
• 8:04
  Speaker 1: It might be as simple as as dropping the lower dobro lick.
• 8:12
  Speaker 1: And I would.
• 8:12
  Speaker 1: I would get on to this groove.
• 8:15
  Speaker 1: That's such a nice change of pace and that all really works well.
• 8:29
  Speaker 1: Not sure about this transition.
• 8:31
  Speaker 1: I feel a little bit like kind of Dorothy, you know, kind of going into a, into a tornado, and where are we going to land.
• 8:41
  Speaker 1: And now we're back.
• 8:42
  Speaker 1: Where's my chord change?
• 8:46
  Speaker 1: Where's my chord change?
• 8:47
  Speaker 1: Because it's the same part, isn't it?
• 8:50
  Speaker 1: Yes, yes, give me my chord change, ralph, don't be stingy.
• 8:58
  Speaker 1: Yeah, so we're.
• 9:05
  Speaker 1: We've left out that bottom lick for quite a while here and I would leave it out and bring it in a little bit later.
• 9:12
  Speaker 1: I'm not sure about this, and maybe, if we, maybe if we sprinkle in some more drum fills or some some more percussion risers, maybe, some or something.
• 9:35
  Speaker 1: It feels just a little stop and starty.
• 9:37
  Speaker 1: Now we've got our fair share of stop downs.
• 9:42
  Speaker 1: We've got basically four large point, which is fine.
• 9:45
  Speaker 1: You know we've learned that libraries and editors really like their edit points here.
• 9:51
  Speaker 1: These are all really clean.
• 10:00
  Speaker 1: I don't think we need a big epic stop down like we have here, and that's a similar type of stop-down.
• 10:08
  Speaker 1: I would go back to something like this, like we have leading into this section, where it's more of a One, two, three, four, boom, yeah, as opposed to another kind of Dorothy tornado going to Oz moment.
• 10:28
  Speaker 1: Now we've completely ditched the bounder to bound, kind of opening hook.
• 10:37
  Speaker 1: Let's bring that back.
• 10:39
  Speaker 1: I feel like we're going a little bit too far out.
• 10:42
  Speaker 1: This is all works, but let's tie it together.
• 10:46
  Speaker 1: You know, if we're going to have kind of an A, an A section and a B section, let's have an A plus B here at the end so that we can bring back the there.
• 10:58
  Speaker 1: Let's bring that guy back here at the end and let's have a little bit more riser, a little bit more energy.
• 11:13
  Speaker 1: This is our final button and we could just about bring this riser and just lay it underneath everything else that we have going on, yeah, and really, really stick that landing.
• 11:33
  Speaker 1: But this sounds great.
• 11:35
  Speaker 1: The mix is fantastic.
• 11:36
  Speaker 1: It gets a little warm starts pushing into the 9s RMS and the close to the 10s in our luffs, which is fine, especially for a cue like this, like a kind of pseudo contemporary hip hop cue.
• 11:51
  Speaker 1: I think this is really, really working.
• 11:53
  Speaker 1: But, rolf man, fantastic, fantastic job.
• 11:57
  Speaker 1: Like I said, this was sent along during our week 34 weekly feedback threads and we put weekly feedback threads together every single week where folks leave their cues and they provide feedback for folks on their cues, and it's just a really.
• 12:15
  Speaker 1: It's a really giving community.
• 12:18
  Speaker 1: And so why don't you join us?
• 12:19
  Speaker 1: Head over to 52Cuescom and join us.
• 12:22
  Speaker 1: We would absolutely love to have you with us.
• 12:26
  Speaker 1: And if you found that feedback helpful and you would like feedback on your own cues outside of the YouTube channel or the podcast or whatever, then head over to 52Cuescom, slash coaching and order your very own feedback video today.
• 12:41
  Speaker 1: And while you're there, you can also check out my coaching services and sign up for our winter mastermind, which is going to be starting in January.
• 12:51
  Speaker 1: But that's going to do it for me.
• 12:52
  Speaker 1: Thank you so much, until next time, peace.