Steve Probst

Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film/Publishing pro that will hear it next."

>> I was contacted by the music library and the track was signed so quickly, I was behind is posting this one!

EMOTIONALLY UPLIFTING ORCHESTRAL INSTRUMENTAL CUES are needed by a Brand New Music Licensing Company started by a seasoned industry pro! They already have distribution for their catalog, and because it's a new company this is a great opportunity to get in on the ground floor and build a new relationship with an awesome, new Music Library!

This Company is looking for Instrumental Cues in the general stylistic ballpark of these references we got directly from the company's CEO:

"The World Before Us" by Jessie Yun

"For Riddles And Wonders" by Sami J. Laine

"LONGING TO RETURN" by Jonas Öhler

Please submit Orchestral Instrumental Cues with uplifting positivity all the way through! Your submissions should have optimistic and hopeful motifs, and dynamic arrangements with plenty of forward motion and interest throughout. It's notable that company made a point to tell us that references don't become epic or grand in scale, so please pay attention to that. Orchestral instrumentation that's in the general stylistic ballpark of the references will work best. Please make sure that any virtual instruments or samples you use are high-quality, very realistic, and genre-appropriate.

Quoting the Client: "The music is uplifting, but it is not epic. Do not include any sound design elements such as whooshes, hits or risers, etc. This is purely orchestral music, but may include choir. The emotion is positive, optimistic, hopeful, uplifting, encouraging, etc."

Your submissions should be between 1:30 and 2:30 minutes long. Non-faded, buttoned/stinger endings will work best. Do NOT copy the referenced material in any way, shape, or form. Use it only as a general guide for tempo, tone, and overall vibe. Do NOT submit any material with unauthorized samples of any other artists’ music, sounds, or any other form of media. Broadcast Quality is needed.

Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film/Publishing pro that will hear it next."
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A Bunch of INSPIRING, BUILDING CINEMATIC ORCHESTRAL INSTRUMENTAL CUES are needed by an internationally distributed Music Licensing Company that's landed some really high-end placements for TAXI members, recently.

This Company is looking for quite a few Instrumentals in the general stylistic ballpark of the examples below:

"Cloud Atlas Finale" by Tom Tykwer, Johnny Klimek & Reinhold Heil

"Moving Skies" by Daniele Carmosino

"One Day" by Hans Zimmer

"We Have To Go" by Steve Jablonsky

Please submit well-crafted Orchestral Instrumentals that slowly build to create an inspiring, cinematic feel to a scene! Uplifting motifs with dynamic arrangements that have a slow-building forward motion should work well for this request. Orchestral instrumentation that's in the general stylistic ballpark of the references will work best. Please be sure that any virtual instruments or samples you use are high-quality and very realistic-sounding.

Your submissions should be about 90 seconds to 2 minutes long, give or take. Non-faded, buttoned/stinger endings will work best. Do NOT copy the referenced material in any way, shape, or form. Use it only as a general guide for tempo, tone, and overall vibe. Do NOT submit any material with unauthorized samples of any other artists’ music, sounds, or any other form of media. Broadcast Quality is needed.

Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film/Publishing pro that will hear it next."
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Several INSPIRING, CINEMATIC ORCHESTRAL INSTRUMENTALS are needed by a Music Library with International distribution, that has landed a lot of Major Network placements.

This Company is looking for Instrumentals in the general stylistic ballpark of the examples below:

"Kiss of Sunlight" by Cody Martin

"Feel The Heartbeat" by Melodality

"Arrival of the Birds & Transformation" by the Cinematic Orchestra

"Bittersweet" by Michael Maas

Quoting The Client: "Looking for inspiring cinematic instrumentals with orchestral instrumentation that features acoustic piano or nylon string acoustic guitar. They should be inspiring, hopeful, and beautiful sounding, with a touch of romance (nothing sad or dramatic)."

Please submit Orchestral Instrumentals with an inspiring, Cinematic sound that could work well for a variety of sync placements! Your submissions should have hopeful-sounding melodies and dynamic arrangements with lots of forward motion and interest throughout. Orchestral instrumentation that features acoustic piano or nylon string guitar, and is in the general wheelhouse of the references will work best for this pitch. Please make sure that any virtual instruments or samples you use are high quality and realistic.

Your submissions should be about 90 seconds to 2 minutes long, give or take. Non-faded, buttoned/stinger endings will work best. Do NOT copy the referenced material in any way, shape, or form. Use it only as a general guide for tempo, tone, and overall vibe. Do NOT submit any material with unauthorized samples of any other artists’ music, sounds, or any other form of media. Broadcast Quality is needed.

Here's the third of three tracks that has been signed with a music library for use in TV and film. I had an assignment to write “Magical Orchestral”. The title: “The Forest Path”.

I used a small bit of video through a… forest path (see below)… to get the idea started. You can get an idea of what the tempo of a piece of music should be from the movement of the visual and and then write according to that. (Notice the very slight up and down movement of the camera. Seemed like a good tempo to me!)

And once again, many thanks to a couple of new friends and veteran composers with the music library who helped me dial in the mix to get things where it needed to be.

I'm always posting about the "yes's" that make it through a pitch. Well, here's a "no". It needed to be less somber and more “inspirational” for the client. You live/write and you learn to respect the feedback, knowing the track could find a home somewhere else. And every time a track is written, new insights about the skills required to get to the final product are gained.