TRANSCRIPT 🔗
WEBVTT
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This week. Tim Bird got one as
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of 2 hours ago, says, I had to screen record this
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win. This song, Keep Going, is on The Chi.
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It's also expected to be on the reboot of A
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Different World on Netflix, collaboration with Hannah
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Mines, uh, Frankie, and Buddha.
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Yo, let's go!
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Why am I feeling weird stuff on my neck.
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Um, shout out to that. Let's, let's check out the screen record.
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Is it a— oh, I thought it was a scene.
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That's dope. It's a dope song.
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Shout out to that mix too. Listen, I am not mad
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at that. Shout out to
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Tim Bird and the team on that joint. Um, and I
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think he— there's a post too that we're gonna have to dig up. Um,
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and he was kind of talking about this, this word right
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here, expected. We gonna have to dig into that,
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um, a little bit later. But yeah, that's super
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dope. I love to see it. Um, yeah, let's go.
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Placements on deck. We got Candace Williams in the building.
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Small win, big win says, hey y'all, it's been
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a long time. Wait, no, let's, let's start over.
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Let's read correctly, Clint, tonight. All right. Hey y'all, it's been a long
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while since I've posted. I took Clint's production course in 2024
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and I was just really learning how to make hip hop beats and mainly have
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a keys and gospel background. I submitted to libraries and had some early rejections,
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but it made me regroup and work on the quality of my producing. Still a
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work in progress. I just wanted to share,
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uh, for this that don't yet do this full-time and may not
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have all the time in the world to work. I fell off majorly for a
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time due to lack of belief. I also shifted my focus to orchestral trailers and
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hybrids and working with references to get my sound better.
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This leads to the win. Recently I was talking to a friend
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that makes short films. He let me hear his soundtracks and they sound good.
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He's a vocalist I work with and I was impressed. I asked
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him for some B-roll for
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a scene to practice writing to picture, which I've never done. My studio
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was dismantled at the time and I was working in another DAW,
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Luna, which wasn't familiar, but I came up
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with a short sketch. He liked it. So I went back in and cleaned stuff
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up, mixed it, mastered it, and put in the metadata. I gave it
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to him and he sent a contract. I can't even explain how I didn't
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think I would ever have a placement and how discouraged I was.
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This happened out of the blue and in the flow of other things I was
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doing, like playing for a choir, singing and playing keys.
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It's definitely God's timing in favor. Thank you to Clint and this community for
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the heat you all bring with the information and level of music y'all are making.
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It's an inspiration and I aspire to continue to improve and get
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more placements. Stay encouraged, everybody. Your time is coming.
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Let's go.
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That's major. And like a testament to just
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keep pushing, keep working, keep improving.
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And shout out to Candace for even taking
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initiative to like put the metadata in, even though
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she was just asking for something to kind of practice to.
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Like she already, she was just prepared.
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Like if anything does pop off, like this
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metadata gonna be in this joint. And then she
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got a contract. That's amazing to hear. Shout out
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to Candace. Um, yeah, keep going and
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hoping that turns into many more. That's super dope.
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And just like not giving up. That's, that's everything.
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Um, yeah, for sure.
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Indeed. Um, all right, what else we got?
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Alexander got a response back. Let's see
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what he's talking about. He says, hey everyone, I've been reaching
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the libraries and music supervision agencies and got 2 responses back
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to send in some tracks and already got a response back from one of
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them, which are Trailer House. I really need to work on my composition
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structure, structure for trailers. That's all good with me now
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that I know I need to perfect the tracks even more so it fits that
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space. Um, the other one, I just sent away a
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couple of different tracks, hopefully to get a response back
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soon. If not, I'm going definitely to follow up in a week or so.
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For me, this is a big win. I yet to place any songs,
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but I'm in for the long run for sure. Keep on making waves
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out there. Have a blessed day. Let's go, Alexander.
Load full transcript
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Alexander's been in the hub for like a couple weeks and dude's already just
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out here crushing it. Let's go. Um,
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and the fact that he mentioned being in
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it for the long run, that's literally like,
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that's everything. Like you gotta, you just gotta hunker
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down for this journey, man, because I mean, nothing's guaranteed.
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You don't really know how long it's gonna take. You don't know if somebody's gonna
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hit you back. You don't know if you have what they need.
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You just— there's so many unknowns, but the only way you
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figure it out is like just moving a step at a time and moving forward
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and then just like not stopping. Um, so if you like
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set the expectation that I'm going to be doing this for
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a long time. Um, I think,
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I think those are the ones that end up getting wins
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because they just set realistic expectations. You know,
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like I hear some producers hit me up and they, they're just like,
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yo, like how long is it going to take? Or, you know,
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do you think I can get a placement in a month? Or do you think
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like, and it's just like, yo, like, let's manage expectations.
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Like, let's just expect not to have any placements this
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year, probably not to have any placements next year. You're about to do
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a lot of foundation building, like, for the next
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few years, and then just, like, lock in with that
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because, like, realistically, it may—
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it just— it may not happen for a while.
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So if you're okay with that and then you can just fall
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in love with the process, man, I think that it just takes you a long
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way for sure. Brother Truman is in
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the building. What's good? Um,
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so yeah, Birdman Pro has entered the building. We were just
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talking about that win. Um, trailers have 3-act structure. It's a whole other
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animal. Get them, Alexander. Yeah, man, that good old 3-act structure
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for sure. Um, Payday Producers
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in the building, what's good?
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Janelle has entered Sync
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Producer Live, what's good, Janelle? Um, so dope stuff, man.
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Congrats to Alexander, let's go! Trey Mosley with a win
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says, I know it's not music, I know it's not music, but an article about
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my voiceover
career came out today. Here's the link. It's a win,
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maybe not musically, even Um,
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even I do mention my music production,
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but a win nonetheless. Here's the link. Um, and then he
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shares the link with us. If you're in the hub, you could check that out.
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Let's go, Trey.
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Shout out to being in the article and shout out to the voiceover
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career, man. There's actually like, there's a lot of overlap in that.
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Um, actually, so that's super
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dope. Love to see it. Um,
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maybe, maybe one day you'll do voiceover work and
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then put your own music underneath it, and then you get a double placement.
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Dope stuff. Marty's in the building. What's good, Marty?
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Let's see. Uh, Rich with a small but not insignificant
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win. You may have heard me lamenting
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about running out of space on my main drive. It's like
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a, it's like a yearly issue for me too. Who knew 1 terabyte would
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be just a pittance? Who wants to be a
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terabyte tear? Still living
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in Sonoma and Logic 11, I knew something had to be done.
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So with only 4 or 5 gigs left, I went to work.
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That's actually, it's actually more than, than I have
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when I get to this point of having to clear my hard drive.
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It literally just happened this week. I recovered like,
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I recovered a chunk of random, it was a
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random like series download
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on from Apple TV that I don't even watch.
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It just sitting on my computer and
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it cleared up like, cleared up like 60 gigs.
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It was, it was crazy. Anyways, um, number 1,
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follow the online guidance to somehow get to 10 gigabytes. That's an
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accomplishment alone. 2, restarted, cleared off unused
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archives onto an external hard drive. Got to 12,
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still not enough to download Tahoe. 3, applied Sonoma patches,
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which somehow got me to 20 gigs, enough to download
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and install Tahoe. Installing Tahoe still left enough space to upgrade to Logic
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12.3. Tested existing projects and everything still worked.
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A win. This is— these are stack— these are the win stacks right
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here. 5, upgraded to latest version of Kontakt 8 and installed
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straight plugins waiting in the queue. Took most of the day, but I
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feel updated. Getting back to work on unfinished projects and new tracks.
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I get the feeling I will be going through this merry-go-round again
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soon. Yo, shout out to Rich. Those are
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wins though, man,
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because listen, like,
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it's hard to be productive when you ain't got no space.
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Like you can't, and it's crazy because it's stuff
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like that, software updates, Logic OS
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updates, it forces you to go and recover space.
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And you just, it just, it just makes you like, you're just like,
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okay, I'm not producing today. I'll be sitting here figuring
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out ways to clear up space. Um,
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so shout out to you. You got all updated.
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I love to see it. Let's go, Phil Scott
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Bailey with the win. He almost gave up.
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Um, so he says, uh, story time. I think— oh,
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so he— I think it was edited. Um,
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because I think we, I think we, uh, I think we went over this
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last week. I don't know. Let's reread it because it's edited. So who knows?
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Story time. I'm part of a production house that provides music for a TV show
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in-house and decided to take on a brief for a genre that I wasn't 100%
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comfortable with because I don't specialize in it. I do remember this. The genre
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was island pop. I studied the reference and took a stab at it and got
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feedback that made me second-guess resubmitting that genre. Uh,
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the feedback was something like, this cue feels empty. It needs to feel alive.
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This one may have to wait until the next submission window.
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That feedback humbled me pretty quickly, made me think maybe this genre
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isn't for me, but a voice said, just try it anyway. So I did.
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And guess what? The cue was approved the following week. I carefully read the
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feedback and tried my best to make the cue fit the needs of the team,
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and it worked out. Moral of the story, never doubt yourself.
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Yeah, I think I do remember that. Shout out to Philip again
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on that. Never give up again. Just sticking
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with it, being in it for the long run. Logic and Waves leaves
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a bunch of cache files. Yes.
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Yeah, for sure. Especially Waves. Like, And it's tricky because
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some of them, like, I don't know what's safe to delete.
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So like, I don't wanna delete
some stuff 'cause I'm like, man, what if it
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just stops working? Then I gotta go and reinstall all
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these plugins again. And then knowing Waves, I'll go back to try and reinstall and
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download the installers. And then they want me to do an update plan and ain't
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nobody trying to do that. And then all of a sudden I went from Deleting
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something to clear up space to now paying $300
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to update Waves plugins that I had no plan on
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updating. It just gets, it just gets crazy.
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It just escalates from there. Um,
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so yeah, man, and we got some level-ups in there from Carl,
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Alex. Let's go, man. Um, so yeah, love to see
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it. Shout out to everybody in the community, Sync Producer Hub community winning.
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Making progress on this sync journey. Let's go, man.
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Um, I got a 5
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terabyte external. My Kontakt takes 1.5 terabyte plus.
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Yeah, I believe it, man. It's eating up some space.
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Yep. Um, the cat ate my
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hard drive. I had to, um,
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make some island pop music. It wasn't clicking until I just sidechained
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everything to give it that movement. Ah, nice.
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Um, yep, 100%,
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man. I'm telling you, bro, like, I think we all— like,
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we all have those moments, man. Like, no matter, no matter how many
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placements you get, no matter how long you've been doing this, man,
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listen, at any moment you can be humbled
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and just like quickly realize or second-guess
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yourself. Just like, man, honestly, I don't even know I don't even know
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if I can make this happen for real. And but you just
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like, I don't know, you just kind of push through it because
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like you're in it. So it's just like,
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yeah, man, it, it happens.
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It absolutely happens.
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Um, so yeah, we got Allison in the building says Tonight is
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baking it, botching it. That means
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you fend for yourself. Oh, okay.
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Um, I had Marie Callender bacon cheese chicken.
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I always add to these things both mozzarella and cheddar and
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bits of more bacon. Um,
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so yeah. Uh, Allison says, I have a question for the Hub. If I wrote
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a cookbook, dinners for producers, easy, yummy,
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with love for busy artists and creatives. What do y'all think?
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Y'all chime in the chat. What do y'all think if Allison wrote
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a cookbook for producers and creatives?
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Aaron says, random, I know, but why haven't I heard of a tech
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company named Cash Money?
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Yep. Yep, this is— this— these
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are the types of conversations that happen inside the Hub and that need
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to happen. Because why, why haven't
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we heard of a tech company named Cash Money?
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It sounds like a tech company slash record label
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because— wait, Cash Money is a record label,
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um, or was it, or was it a, uh, a group?
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No, it was a record label. Yeah, Cash Money Records.
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Um, so,
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but spelled Cash. That's probably why,
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honestly. It was some lawsuit would probably happen, that's why.
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But would it though? Because technically it's a different
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industry. One is music industry, one is tech.
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I don't know. Music and tech can kind of cross over,
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but I don't know. Could they run into some trademark
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issues? I don't know. Michael Connor Music,
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what's good, bro?
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All his raps are about never giving up. That's why,
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that's why he made it through, bro. Like, he just
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It was like just self-fulfilling prophecy. Like all of his raps
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are just about not giving up. So even if he could, he couldn't
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give up if he wanted to, 'cause just subconsciously because
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of everything that he writes and that comes out, it's just,
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he's not a quitter. So he just didn't quit even
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though he wanted to, he couldn't.
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So yeah, we do. I'm pretty sure
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we all love to eat.
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Um, I know,
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right?
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Oh man, music tech, music tech. I mean,
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yeah, it, I mean, it's just,
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it merges. I mean, just with software, software, hardware,
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technology, music. It's hard
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to separate the two. Anyways, let me go back. Uh, Tim, Tim,
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that post about, uh, we need to talk about that. Um,
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because it was in his win, but then he mentioned it in,
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uh, in a post prior
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to the win. Here we go.
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'Cause this is facts. And it's like,
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it's also a part of the process too
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with getting things synced,
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especially if you're the one going back and forth with the
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music supervisor or the music team on a film.
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So here, let's check it out. So it says,
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what I learned about composer agreements. Alert, it's a long read,
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so I hope y'all got masa chips. This year so
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far, I signed 4 composer agreements for songs I produced
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that's quote unquote expected according
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to the emails to appear in 2 episodes of The Chi.
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Well, we just seen one of those land, and one episode of
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A Different World releasing September 24th, 2026 on Netflix.
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I'm looking, I'm looking forward to seeing how they how they did that,
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uh, this new, uh, A Different World, because that was one of my favorite
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shows, bro. Like that, yeah, I hope they, I hope they do it justice.
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I, I feel like they will. I hope they do. Um,
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so it'll be interesting to see how they kind of flip that, um,
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to, to today. Anyways, one of the songs from The
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Chi is quote unquote expected to appear in
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A Different World as well. Cool, that's money from 2 different shows with
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one song. Now Notice how I place the word expected
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in quotations, right? Here's why. To me,
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expected means maybe, might,
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could be. It's possible that they will be
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on the shows mentioned, but until I hear it on
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the shows, it's not a placement to me yet.
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I agree, it's a good look and a win for
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at least getting the agreement but not a placement.
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Even if they pay me the money mentioned in the agreement,
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it's still not a placement. Let me explain.
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It's happened to me in the past. The company switched gears with the music at
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the last minute. No harm, no foul, just switched.
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Prior to that, I posted all over social media
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about the placement but had to take it down And
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all that to say, make sure the placement is secure
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because some of your family and friends who care will
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say, hey, I watched the shows and didn't hear
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your music. That is— wow,
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that's hard, man. That's tough. P.S.,
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still sign the agreement though. Facts. Here's a screenshot
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of one of the emails I got last month. Um,
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no, this is so true. This is so true.
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I— the mentor told me this when we were working
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on some music for an artist,
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and literally he
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was just like, I know it's exciting,
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but just don't even tell anybody because it's
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not official, even though the artist recorded it. It's still not official,
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even though they're hyped and they're talking about doing this and doing that and
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it possibly being a single, this and that.
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Until even after the ink dries,
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he's just like,
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wait till the joint is out because things can change.
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Surely enough, things changed and it
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never went through.
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It got cut and everything. It got cut twice
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and placement never happened.
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Um, and it's the same with sync, man.
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Like, things can change at the last minute. In fact,
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like, there's things pending now
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that, like, I, I don't consider
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a win because it's in that stage where even if
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a supervisor sends you a,
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uh, like a, uh, like a licensing quote or I
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forget what they got, a request, uh, to a clearance request or whatever,
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it still doesn't mean that the placement's gonna happen because something could change
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like last minute. They may go a different direction or I don't know,
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the show could get shut down before the episode airs. So many
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things can happen. So I still don't even— I still
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don't even count that as a win yet until,
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um, you hear it, man. Like, literally, that's probably the,
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the most confirmation you can get is
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like when you watch it and then you hear it and then you're like,
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okay, it did, it did get placed.
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Um, or Toonsat, because Toonsat heard it. Somebody has to hear
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it. If don't nobody hear it, man, it don't exist.
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And then you just— you hyped everybody up, you know,
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people hitting you up. I didn't— hey man, I watched it. Which,
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which, which part was this one? Was this one yours? Nah,
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nah, that wasn't mine. That wasn't,
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uh, actually I have nothing on there because
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placement didn't happen. I just— I got ahead of myself. I'm sorry.
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So yeah, no, it is, man. It is. Um,
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can't count the win too quick. Um, so yeah, you gotta—
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you gotta kind of— you gotta keep it to yourself for a little bit,
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man, until it— till it comes
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through. Now it is— it—
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for us personally, it's a micro win,
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right? It's a— it's a, uh It's
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a next step. So if you're getting agreements
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like this and things are expected to be placed, that's a great sign that you're
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on the right track. You're doing something right if people are
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sending you agreements and they're
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sending you licensing requests and clearance requests and things. That's a great
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sign. But yeah, just don't
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go telling everybody your music is on the show and
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the show didn't air yet. Um,
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or, you know, things haven't been finalized yet.
24:43.288 --> 24:46.271
Um, had that happen to me for a Super Bowl commercial I voiced.
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Told all my folks and it didn't air. Lesson learned. Yeah.
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Yep. Yep.
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Um, having the original cast will help for A Different World. I agree.
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Like, you— yeah, that joint, it was so, it was so iconic. Like,
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you gotta bring the original cast back
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in some way, shape, or form.
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Um, so yeah, Allison says,
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my husband's— my husband worked with this contractor. They built
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over 60 units out here in Pahrump, duplexes, homes,
25:22.511 --> 25:25.225
fourplexes. The company was called OPM, Other People's Money.
25:27.500 --> 25:31.842
Wow. Um, the McDowells.
25:32.421 --> 25:36.169
Cash Money was both a group and label, one with Ja Rule
25:36.362 --> 25:39.645
and the other with the Hot Boys. I thought so. That's why I was like,
25:39.694 --> 25:42.285
is it, is it a— wait, is that a group or a label?
25:42.907 --> 25:46.239
Um, so yeah.
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Um. But yeah, no,
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I love that show.
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Um, true, unfortunately.
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But yeah, man, um, yeah, crazy. Anyways,
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let me open up the line if you guys have any questions, you want to
26:08.064 --> 26:10.882
come up on camera or audio. Hopefully it's working this week.
26:11.913 --> 26:15.359
KJ tried it last week and that joint was not working.
26:15.757 --> 26:18.595
I updated Ecamm. Speaking of updates, Rich,
26:19.240 --> 26:23.488
I updated my Ecamm, so hopefully things
26:23.988 --> 26:25.659
are working the way they're supposed to work this week.
26:28.793 --> 26:32.829
No, he wasn't like a main cast member. Um, I don't know if
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he appeared on any episodes. He might have, he might have gotten there, I'm sure,
26:36.999 -->
26:40.574
and like appeared in some stuff, especially like
26:40.736 --> 26:44.002
early in those, that early season, um, when it
26:44.067 --> 26:47.396
kind of You know, was the spinoff.
26:48.410 --> 26:48.909
Um,
26:51.565 --> 26:54.657
so, but yeah, we'll see what they do with it, man.
26:55.367 --> 26:58.917
It should be interesting and nostalgic for
26:59.417 --> 27:02.079
sure. Um,
27:03.321 --> 27:06.636
Michael with a quick win from this week scored a short video,
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4 minutes for a Fire Smart awareness video.
27:10.599 --> 27:13.461
Only had about 2 and a half hours to get it done. Wow.
27:13.694 --> 27:17.495
Grateful for the opportunity. From an old friend and
27:17.995 --> 27:22.303
a small bag too. Let's go. That's definitely— and
27:22.480 --> 27:26.038
shout out for the 2.5-hour turnaround, man. I'll be trying to tell y'all this stuff,
27:26.470 --> 27:29.676
stuff is just quick sometimes where it's just like, yo,
27:30.942 --> 27:34.836
you just got to lock in and get it done. And some, like, somehow you
27:34.948 --> 27:38.490
figure it out. Troy Bennett says, does anyone use FL Studio?
27:38.554 --> 27:41.183
I think we got, we got a few FL Studio users in the building.
27:41.279 --> 27:44.740
I know Jason, Jason uses FL Studio. We're still trying to figure out
27:44.805 --> 27:48.346
how he plays keys and not
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play keys. But yeah,
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uh, well, I know, I know we got a few, definitely some FL
27:56.208 --> 27:57.995
Studio users. Um,
27:59.815 --> 28:03.277
so yeah, but that's dope. Yeah, man, these quick
28:03.310 --> 28:06.830
turnarounds are crazy. Um, but they're fun, dude.
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Like, I don't know, for me it's like, it's an adrenaline rush,
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uh, when it's just like, yo, I don't have a lot of time.
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It's a challenge. Like, let me see, let me see if I can do it.
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Like, if I, if I don't, like, okay, but I
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definitely want to try. This is fun.
28:25.080 --> 28:28.633
Jason Dowdy with a question. Um,
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uh-oh, here we go. When you have requests from multiple libraries, good problem
28:33.085 --> 28:36.152
to have, but only so much time, how do you
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prioritize? This is a great question. I get
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this question, uh, quite a bit, especially when it comes to like time management
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and things like that. So if you're at this stage,
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congratulations, you have
28:51.906 --> 28:53.822
a great problem. Um,
28:55.464 --> 28:59.197
this is how I personally prioritize it. I prioritize
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by, um,
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by deadline and budget. Those are like the top
29:07.700 --> 29:09.164
2. Things that I'm looking at.
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Um, yeah, deadline and budget and whether
29:16.897 --> 29:20.898
or not— so if, if they're all requests, meaning this
29:21.398 --> 29:24.385
is new stuff coming in, haven't started any project,
29:25.337 --> 29:28.486
I'll prioritize it by, um,
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well, there's 3. I'll say The
29:34.232 --> 29:36.350
budget, how much I'm getting paid for it,
29:37.951 --> 29:42.139
the deadline, and the likelihood
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of it getting placed based on prior
29:47.495 --> 29:52.825
experience with the company. So yeah,
29:53.050 --> 29:56.898
like say if a publisher hits me up and I just haven't gotten a ton
29:57.398 --> 30:00.897
of placements through them, it may
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fall a little lower in that prioritization,
30:05.068 --> 30:08.272
uh, uh, whatever. Um,
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if it's, if it's something where it's just like, hey,
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I've worked with this company before, I know whatever I do, we gonna
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see that in rotation within a year or so, no worries,
30:21.217 --> 30:22.653
boom, let's knock it out.
30:25.335 --> 30:28.330
Um, and then probably at the, like, lower of the list,
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4th, would be, um,
30:34.529 --> 30:39.497
just my, my ability and bandwidth to do it, right? So let's
30:39.546 --> 30:42.809
take for example, I get one request for,
30:44.433 --> 30:49.088
um, you know, my typical structured
30:49.506 --> 30:52.341
R&B hip-hop songs, right? Um,
30:54.811 --> 30:58.645
And then I get another request for a
30:58.709 --> 31:01.992
trailerized remix of a popular song.
31:03.154 --> 31:06.833
That trailerized remix is going to take me longer to
31:06.865 --> 31:10.416
produce than me creating an R&B
31:10.916 --> 31:14.772
hip-hop song from scratch. Because usually with
31:15.272 --> 31:18.080
a remix or whatever, I kind of have to kind of go in, learn the
31:18.580 --> 31:20.371
song a little bit. I have to listen to it. I have to see how
31:20.419 --> 31:24.324
I want to arrange it, how I want to break it up and do
31:24.518 --> 31:28.057
all the things. There's gonna be some different editing.
31:28.170 --> 31:31.418
It's just, it's a completely different creative process
31:31.466 --> 31:35.401
for me doing something like that versus
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in my lane creating something original.
31:41.209 --> 31:45.173
It's, yeah, I think it
31:45.303 --> 31:49.097
feels more experimental. And just takes
31:49.178 --> 31:52.930
a little more time remixing and
31:52.962 --> 31:55.009
trailerizing things for me.
31:57.800 --> 32:01.189
So, 'cause I don't know, like it's just like I wanna
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keep some of the, I wanna keep some
32:04.514 --> 32:08.490
of the like, you know, the original things of the song in there.
32:08.716 --> 32:13.226
And it's just different. It's just different creative. So if I know I
32:13.726 --> 32:16.936
don't have a ton of time to dedicate towards that with
32:17.197 --> 32:20.628
whatever else I have going on at the time, then I just,
32:20.709 --> 32:24.056
I may not
prioritize that. I'm gonna go with what I know I can knock
32:24.556 --> 32:27.337
out with the time that I have. So that's kind of how I do it.
32:29.170 --> 32:32.600
That's kind of how I prioritize it. So it's how much I'm making from
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the project.
32:36.293 --> 32:39.863
It's the deadline and whether
32:40.363 --> 32:43.223
or not I can even fit that into my schedule based on what I currently
32:43.255 --> 32:46.844
have on my plate. It is What I
32:47.344 --> 32:51.004
have to produce and the complexity of it.
32:51.296 --> 32:55.129
And then what was the
32:55.675 --> 32:59.773
fourth one? Something. I forgot.
33:01.540 --> 33:04.794
But those are like the main things I'm thinking about
33:05.413 --> 33:06.440
before I say yes to something.
33:13.057 --> 33:16.586
Yep, Payday's on FL. Oh, those brownies been
33:16.682 --> 33:20.098
gone, bro. Those brownies were gone the following day.
33:21.517 --> 33:23.981
Not by me though. Like, I didn't, I didn't eat all the brownies, okay?
33:24.367 --> 33:27.941
I don't want y'all judging me. I felt that through the lens.
33:28.215 --> 33:31.016
That was like, he ate all those brownies. No, I did not eat all the
33:31.032 --> 33:34.786
brownies. The kids ate all the brownies. I had a— I had,
33:34.964 --> 33:38.876
okay, I had 2. I had one the next morning. That was it. All right,
33:38.957 --> 33:43.076
so I had the one brownie that night, had another one the following morning,
33:44.308 --> 33:48.134
and then that was it. That's all I had. But,
33:48.232 --> 33:49.717
uh, they were good though.
33:55.435 --> 33:58.929
Um, says, bro, for real, I marked out the hit points for the whole thing,
33:58.961 --> 34:02.311
but it ended up being the outro— the intro and outro and 5
34:02.343 --> 34:03.567
transitions to the next scene.
34:05.959 --> 34:08.686
Um, yeah, Jason, Jason doesn't play keys, man.
34:09.792 --> 34:11.971
He doesn't do it. Um,
34:13.546 --> 34:15.543
but yeah, definitely a good question.
34:20.760 --> 34:23.927
Recap: budget, deadline, likelihood of getting— oh yeah, that's what
34:24.427 --> 34:27.524
it was— likelihood of getting placed, effort, time to create the piece. Less time,
34:27.803 --> 34:31.558
start with the easy one. Yep, exactly. Thank you. Because I forgot what
34:32.058 --> 34:35.900
the other one was, like likelihood of placement. Um, because like
34:35.964 --> 34:39.438
if it's just, you know, yeah, you get
34:39.938 --> 34:43.765
it, you get it. I know what
34:44.008 --> 34:47.344
I want to do with the trailerized cover, but there's so many ways to,
34:47.830 --> 34:50.790
to go when you can use an original stem. Yeah,
34:50.806 --> 34:54.011
exactly, bro. Like that, it just
34:54.091 --> 34:57.873
opens up a whole nother part of my brain in
34:57.907 --> 35:01.082
terms of creativity. Um,
35:01.582 --> 35:05.386
because I'm like, I'm thinking about, I'm thinking about effects,
35:05.467 --> 35:09.088
I'm thinking about what part of the vocal I want to bring
35:09.186 --> 35:11.752
in. Like, it's, it's just,
35:12.191 --> 35:16.105
it's, yeah, it's a whole thing. It's a whole thing. It's like
35:16.605 --> 35:19.834
creating, uh, I used to, when I used to do
35:19.963 --> 35:23.503
like the remixes a lot and would just kind of remix
35:24.003 --> 35:27.382
songs and do my own production behind them.
35:28.376 --> 35:31.743
It, this just literally, it's like you kind
35:32.243 --> 35:35.734
of gotta, like I learned, I learned the chords,
35:35.830 --> 35:39.453
like I kind of learned the song first. And then
35:39.517 --> 35:43.124
once I learn it, I know what I can do and where I can go
35:43.220 --> 35:46.266
with it. But it's hard for me to do that if I don't know the
35:46.766 --> 35:51.564
song. So it's like, it's like, rehearsal and
35:52.064 --> 35:55.816
production combined into one when working with
35:55.832 --> 35:59.235
covers. For me, it's like, it's a whole thing.
36:01.460 --> 36:05.421
Do you guys use templates for certain type of tracks to
36:05.437 --> 36:09.689
help streamline your process? That is a definite
36:09.802 --> 36:10.497
yes for me,
36:13.893 --> 36:18.016
100%. I need to start creating these templates on this MPC because I have I
36:18.048 --> 36:22.383
have none. I've just been starting from scratch every
36:22.415 --> 36:24.478
time, but I don't know, it's kind of fun,
36:26.665 --> 36:28.101
but I could be saving a lot of time.
36:31.518 --> 36:35.001
Um, but yeah, I have the shout out to Flares. If you're in the
36:35.501 --> 36:38.802
community, um, you guys have probably seen, uh,
36:39.189 --> 36:42.664
Flares trailer, uh, trailer music boost pack.
36:43.085 --> 36:46.807
It's also on clintproductions.com. Or you
36:47.307 --> 36:49.646
can, you can purchase it. It's like a Logic Pro template and it's a whole
36:49.775 --> 36:54.492
guide, but that helped me create a trailer template.
36:54.572 --> 36:58.005
It is a trailer template and I kind of like created mine
36:58.438 --> 37:02.433
based off of that because yeah,
37:02.449 --> 37:05.851
like around the time he dropped that, I had just started kind of working on
37:05.899 --> 37:09.653
trailers. So was kind of getting used to the whole 3-act
37:10.153 --> 37:13.680
structure thing. So that really helped me a lot
37:14.180 --> 37:17.418
'cause I kind of knew about where I needed to be with like each
37:18.349 --> 37:22.103
section and things like that and what each section needed to
37:22.603 --> 37:25.761
do. So definitely recommend that if you haven't grabbed that
37:25.938 --> 37:29.483
and you're interested in doing trailer music, you can get
37:29.983 --> 37:32.981
that template at clintproductions.com.
37:39.345 --> 37:42.759
Let's go, Janelle made some brownies for the
37:42.807 --> 37:46.720
wife. Let's go, shout out to brownies,
37:46.817 --> 37:48.963
man. I'm sure she enjoyed them too.
37:53.050 --> 37:55.826
Sure, blame the people that aren't here to confirm.
38:00.874 -->
38:04.682
Um, uh, one other thing. Oh, to confirm, what was it about
38:05.182 --> 38:07.673
the brownies? I'm telling you, man, I only ate, I only had 2.
38:10.972 --> 38:14.588
Um, one other thing to consider. What shows do
38:14.604 --> 38:17.700
they have relationships with? Network equal more money versus streaming.
38:17.829 --> 38:20.780
Yes. Facts. That is true.
38:26.476 --> 38:29.306
Yeah. It, you know what? Yeah, it is.
38:32.083 --> 38:36.154
Janelle, Janelle made the brownies for
38:36.654 --> 38:39.949
her wife and then proceeded to eat most of them.
38:42.340 --> 38:44.726
Oh man, that's hilarious.
38:50.096 --> 38:53.406
Trey Mo says, Janelle, can you send some brownies to the cousin in Vegas?
38:54.700 --> 38:57.995
Janelle, okay, so Dinner's on, dinner's on
38:58.173 --> 39:01.406
Allison and Janelle gotta make another batch of
39:01.906 --> 39:05.222
brownies. Because number one, she ate the
39:05.722 --> 39:08.735
first, most of the first batch. And then number two, now everybody wants brownies.
39:12.388 --> 39:15.977
So let's go bring those brownies.
39:21.038 --> 39:24.792
Um, so yeah, man, templates and, uh, prioritization. That's huge,
39:24.872 --> 39:28.468
man, because you like, Man, you want to hit everything
39:29.207 --> 39:32.485
because the, the tricky part is,
39:32.999 --> 39:36.630
I mean, you'll get multiple briefs and you literally could do them all.
39:36.678 --> 39:40.069
Like you have the ability to produce all the
39:40.569 --> 39:43.668
stuff that they're asking. And then if you don't,
39:44.263 --> 39:47.460
if you don't cut it down, like you'll just get overwhelmed and then you'll end
39:47.960 --> 39:51.477
up doing none. So it's just like, then you just gotta, gotta kind of pick
39:51.977 --> 39:55.193
and choose and just You know, just focus on like, you know,
39:56.067 --> 39:59.515
one or two and
40:00.015 --> 40:03.882
then knock them out from there. And, and then just know
40:04.156 --> 40:07.644
and be okay with the fact that you can't hit everything.
40:08.576 --> 40:09.589
That's just the reality.
40:13.623 --> 40:17.111
Yep, we'll get this one, won't get this one. I have to circle back
40:17.611 --> 40:21.411
around. Next, next year, next season, next opportunity,
40:21.766 --> 40:22.106
whatever.
40:25.952 --> 40:27.707
Oh man, listen,
40:29.525 --> 40:33.419
somebody brought, somebody brought some cupcakes in one of my college classes.
40:34.617 --> 40:36.572
But see, I don't know, I'm real picky, man.
40:39.409 --> 40:42.887
Um, I'm real picky because I didn't really like— I didn't know
40:42.904 --> 40:45.621
this person. And she would always,
40:47.014 --> 40:50.676
um, I think she had a lot of cats.
40:51.568 --> 40:55.376
And that's so— that's the thing for me, just I think of cat hair when
40:55.698 --> 40:59.210
someone has a lot of cats. And then I just think of that
40:59.710 --> 41:03.789
cat hair just being casually just on the counter and on
41:03.966 --> 41:07.436
everything.
Because I mean, pet hair just, it gets over
41:07.936 --> 41:12.037
everything. Like even working in IT, man, I've, I had to do work in Uh,
41:12.647 --> 41:16.436
people's houses where they, they just had a
41:16.501 --> 41:20.402
lot of pet hair. And when you open up the computer, it confirms
41:20.499 --> 41:23.758
that they have a lot of pets. Um, then you gotta—
41:23.951 --> 41:26.552
oh man, it's just a lot of hair to deal with.
41:27.098 --> 41:29.812
So then I think of that and I think of the food and I think
41:30.312 --> 41:34.259
of eating the food and then somehow having cat hair when
41:34.307 --> 41:37.052
I take a bite. And then I'm just, I'm just like No,
41:37.133 --> 41:39.842
thank you.
41:40.580 --> 41:44.428
Um, but I don't really, I just don't, I don't really know you like that.
41:44.589 --> 41:48.854
I gotta, I get to know you a little more before
41:49.078 --> 41:52.333
I just partake. And, um, so,
41:52.430 --> 41:55.171
and, and then I'm, and I'm real big on packaging. Like,
41:56.358 --> 41:59.421
how did you, how did you present this? Right?
41:59.902 --> 42:03.734
Like, is it, is it a, is it a brownie? Is it a
42:04.234 --> 42:08.131
muffin? That you didn't even put the, the little
42:08.147 --> 42:12.288
muffin paper underneath it and it just came raw out the—
42:12.641 --> 42:15.722
raw out the, the muffin pan. I don't
42:16.222 --> 42:19.783
know about that. I don't know. Like, that's cool when you at home
42:20.283 --> 42:23.747
and, you know, and you whatever, cornbread. Like,
42:23.796 --> 42:28.049
I can see that, but for certain things, it's just got to be presented
42:28.549 --> 42:31.768
right. What does the frosting look like on top? Does it look like it was
42:31.800 --> 42:33.985
just hand spread or was it,
42:35.022 --> 42:39.504
you know, was it properly placed
42:40.280 --> 42:44.776
on top of the cupcake with the right tool?
42:45.132 --> 42:49.503
Like, I don't know. It's just, it has to look delicious.
42:49.699 --> 42:53.360
It has to, it has to look clean. There's just a lot
42:53.860 --> 42:59.997
of criteria I have before I Appetite
43:00.013 --> 43:03.241
diminished. And then the person, like,
43:04.027 --> 43:07.624
you gotta look at the person. Does the person— do— is the person
43:07.720 --> 43:09.872
clean? Because if the person is dirty,
43:10.691 --> 43:13.822
right, you know, fingernails, I look at the fingernails. Well,
43:13.902 --> 43:18.221
oh, one huge pet peeve is going
43:18.254 --> 43:22.557
to a restaurant or whatever, picking up drive-through,
43:22.669 --> 43:26.583
whatever, Somebody hands you the cup and
43:27.083 --> 43:31.146
it's just earth within the fingernails,
43:31.825 --> 43:33.182
just visible.
43:34.491 --> 43:38.029
Just that, here, you can, you know
43:38.529 --> 43:42.287
what? Treat yourself to that drink. You can have that 'cause
43:42.787 --> 43:46.425
your hand was on top of the part where I put the straw
43:46.714 --> 43:49.387
in. I look at all that, man.
43:50.884 --> 43:54.148
You gotta, you can't just be giving people
43:54.244 --> 43:58.006
food and your fingernails are dirty. You gotta clean your fingernails,
43:58.103 --> 43:58.328
man.
44:02.387 --> 44:06.160
So yeah, man, it's just, Janelle says, I'm picky like that.
44:06.224 --> 44:09.610
Presentation's everything to me. Not everyone is as clean as though it's a fact.
44:09.916 --> 44:12.414
They're just not. And that's fine.
44:14.080 --> 44:17.349
I just, you know, I'll just, uh,
44:19.023 --> 44:22.163
I'll just opt out. Just opt out.
44:23.258 --> 44:26.822
Naked muffins, man. I'm telling you, it's a
44:27.322 --> 44:30.761
thing. We got KJ. Let's bring KJ up. Um,
44:31.261 --> 44:34.850
yo, what's up, bro? What's up?
44:35.109 --> 44:38.824
Happy Friday, man. Indeed, happy Friday. I'm gonna try this
44:39.324 --> 44:43.073
again and get online with you. Last week I was on there
44:43.573 --> 44:45.260
3 times. I was like, can you see me? I'm trying to ask you a
44:45.760 --> 44:48.960
question. So look, I'm gonna, I'm gonna,
44:49.460 --> 44:52.660
I'm gonna, I'm gonna ask you, even though we chat a little bit, I want
44:53.160 --> 44:57.020
to do a follow-up on that. So my question for the, like, the hub is
44:57.520 --> 44:59.140
one of the things you can see when you're gonna have to look at some
44:59.640 --> 45:04.040
of the libraries that you're trying to pitch music to is the—
45:04.540 --> 45:07.940
you'll have your track that you may submit to a library, but I asked Clint,
45:08.440 --> 45:13.507
what about when he's talked about alternates. So hypothetically,
45:13.925 --> 45:16.751
you give them the one track, and then should I send them a bass and
45:17.251 --> 45:21.232
drum, and should I also send them a no melody version with it? So if
45:21.732 --> 45:24.701
I send them an EP, which is 5, maybe 5 songs on the album,
45:24.765 --> 45:28.603
should I send them 2 additional alts for each 5, each of the 5 songs,
45:29.743 --> 45:32.409
hoping that maybe when they hear one of the alts, they may be, oh,
45:32.570 --> 45:36.103
this may fit, this version may fit more than the whole
45:36.603 --> 45:39.697
song, right? They get a chance to hear that before We, you know, before they
45:40.197 --> 45:43.512
actually, you know, have to reach back out to me for that. So that was
45:43.560 --> 45:46.573
my question. Yeah. Can you talk about that a little bit?
45:47.150 --> 45:50.018
Yeah, great question. So this is,
45:50.916 --> 45:54.137
this is how I approach it. So I always say like,
45:55.499 --> 45:59.714
don't create like all of the stems because it
45:59.746 --> 46:03.272
varies publisher to publisher what they want and how
46:03.772 --> 46:07.166
they want deliverables sent and which stems they want, if they even
46:07.182 --> 46:10.726
want stems. Some publishers create their own versions and things like
46:11.226 --> 46:14.177
that and cutdowns and things like that. So to save time,
46:14.703 --> 46:18.142
I
always say definitely have the main version, have the,
46:18.576 --> 46:22.203
the instrumental, and then, you know, maybe a drum and
46:22.703 --> 46:26.120
bass. Like, those are kind of like the base, the basic versions that everybody's gonna
46:26.201 --> 46:29.523
ask for. But I do think
46:30.023 --> 46:33.472
it's a good idea, even if you don't create like a full
46:33.681 --> 46:38.473
extensive list of like 15, 30, 60 Right.
46:38.634 --> 46:41.820
Like Tune Edge give you. Yeah. So Tune Edge is
46:41.853 --> 46:45.522
easy. Yeah, it's a few. It was like 6, 7 versions
46:45.554 --> 46:49.751
or something like that. But I think it's a good idea to have
46:50.395 --> 46:52.150
at least a few main,
46:53.872 --> 46:57.464
maybe drum and bass. If it's a full song
46:57.561 --> 47:01.580
instrumental, obviously. Maybe a version
47:01.612 --> 47:04.974
with no melody. And the reason why I think it's a good
47:05.474 --> 47:09.609
idea to at least submit those, even if you don't know what the deliverables look
47:10.109 --> 47:13.618
like, is because it shows them that
47:14.195 --> 47:17.723
you're intentional and you're like sync-focused.
47:17.803 --> 47:21.572
Because like a regular producer who's
47:21.652 --> 47:24.780
just, you know, only thing they're doing is just producing for artists,
47:25.180 --> 47:29.350
they're not gonna think to create just a drum and bass or just a
47:29.992 --> 47:33.653
an underscore version with no main melody. They're not thinking that
47:33.750 --> 47:37.026
way. So I think when a company sees that,
47:37.219 --> 47:40.511
they see intention and then they see, okay, this person gets it.
47:40.977 --> 47:44.911
And I think it'll work to your advantage because it'll just make you look professional,
47:44.927 --> 47:49.022
intentional. And then, you know, they'll ask you if they want specific
47:49.522 --> 47:53.423
types from there, but I think it can only make you look good in my
47:53.923 --> 47:57.117
opinion. I was just worried about like basically, cause if you're using your Disco
47:57.133 --> 48:00.666
link, right. And you send them your Disco link. And basically when they open it
48:01.166 --> 48:03.957
up, if you just send the 5-song MP, uh, uh,
48:04.262 --> 48:07.490
EP, then you got 15 different tracks there, right?
48:08.116 --> 48:12.130
Um, so I like— oh, like if you're reaching out to a supervisor
48:12.630 --> 48:15.341
for the first time, that could be overwhelming. They're like, God, this dude sent me
48:15.357 --> 48:19.147
a whole bunch of stuff. Yeah, right, you know. So I'm, I'm leery
48:19.195 --> 48:21.925
about that part of it because that's where I am with— I'm like, oh,
48:22.005 --> 48:25.329
I'm pitching, but I'm like, man, should I send some alternates? Because these
48:25.538 --> 48:29.282
alternates could hit too, right? Um, that's a good
48:29.782 --> 48:32.270
point. So it kind of— it's, it's kind of like a weird spot, and I'm
48:32.303 --> 48:36.159
just like, man, let me ask about that because that
48:36.659 --> 48:39.935
could put you in a real— I don't want to overwhelm them, you know?
48:40.658 --> 48:43.920
Yeah, so I'll tell you how to do that.
48:44.049 --> 48:48.211
I'll show you how to do that without
48:49.078 --> 48:52.969
it looking overwhelming. Um, okay, let me see,
48:53.083 --> 48:55.282
let me see if I can find an example real quick.
48:56.316 --> 49:00.197
Um, I got this from like, I went
49:00.697 --> 49:02.667
out to look at one of your drum— the drumming cues I think you did
49:02.716 --> 49:06.169
for, um, Warner Chapel. Okay,
49:06.572 --> 49:08.847
or one of them. And I was looking at how you laid it out and
49:09.347 --> 49:11.615
you had your alts there. I was like, that's what kind of triggered that because
49:11.664 --> 49:14.106
I was like, well, if I'm going to pitch to some of these libraries out
49:14.606 --> 49:17.946
here, let's see what they're doing out here, you know. And I was like,
49:17.962 --> 49:20.774
man, some of them have 5 or 6 different ales. So I'm like, I don't
49:20.790 --> 49:24.226
want to send 5 or 6 different ales per track. Yeah, that would
49:24.726 --> 49:28.583
be overwhelming for a supervisor, you know, uh, even if I'm using the Disco link,
49:28.647 --> 49:30.351
right? So, um,
49:32.517 --> 49:36.016
yeah, so, okay, so let
49:45.314 --> 49:49.202
Oh, I'll keep that open. So when you— I'm
49:53.990 --> 49:57.799
trying to figure out the best way to show. So when you create, when you
49:58.299 --> 50:01.892
create your playlist in, in Disco, um,
50:04.717 --> 50:08.363
if you when
50:08.427 --> 50:12.581
you go into the, like, the different tracks, um, and then you basically
50:12.918 --> 50:15.404
add versions to the main track.
50:16.558 --> 50:17.841
Okay, it'll, it'll, uh,
50:18.386 --> 50:21.690
it'll— what's the word? Ah, so it'll,
50:21.770 --> 50:25.042
it'll give you a— I haven't seen that version before because I've only done like
50:25.542 --> 50:28.474
where it's the straight, it's the 5 songs. So there's an opportunity for, uh,
50:28.490 --> 50:32.451
alts to be within that track, like a dropdown like you would on the actual
50:32.643 --> 50:35.993
library site. Exactly. Like when you go to the
50:36.493 --> 50:38.248
track, you want to manage nesting.
50:39.830 --> 50:42.967
Got you. So then you go to nesting and then here,
50:43.921 --> 50:47.042
since, since we're on that main track right here, that's where
50:47.542 --> 50:50.775
you want to go to manage nesting and then add existing track.
50:51.018 --> 50:53.990
You can search by like track name.
50:55.530 --> 50:58.957
Shout out to Travis. We're using one of the songs we did, some songs we
50:59.457 --> 51:02.680
did together. Um, and then here you can select
51:03.180 --> 51:06.450
your instrumental, your a cappella, and then it's gonna cascade it
51:06.514 --> 51:10.380
or whatever underneath this main track. So when you share that
51:10.880 --> 51:14.230
playlist, it's only— it's still gonna show as just one track,
51:15.113 --> 51:17.760
but then they'll see this visible. Okay,
51:18.081 --> 51:21.498
boom. And then you got the version, so it's not gonna be as overwhelming
51:21.546 --> 51:25.508
as just having like 6, you know, things listed
51:25.524 --> 51:28.810
here. Um, so it's just like the libraries. When you go to
51:29.310 --> 51:32.050
the libraries, you'll see the number off to the side. It'll be set up the
51:32.550 --> 51:36.770
same exact way as the libraries. Yep, exactly. Yep. Oh, that's cool.
51:37.270 --> 51:39.520
All right, thanks. So did you keep the nesting as part of your template?
51:39.750 --> 51:41.670
You just kept it as a part of your template in there where you kept
51:42.170 --> 51:45.450
it checked as nesting? It just, uh, that— it's just how
51:45.950 --> 51:49.270
Disco set up. It's just set up to if you select nesting,
51:49.350 --> 51:53.045
um, yeah. Manage and then Nesting,
51:53.559 --> 51:56.738
it's just going to automatically nest it underneath that and then
51:56.770 --> 51:59.709
you'll, you'll be good to go. And then it has, uh, so it has versions
51:59.805 --> 52:03.193
and it has stems. So, okay, you know, you could do it that way
52:03.693 --> 52:06.645
too if you wanted to. Um, but you able to leave it like that where
52:07.145 --> 52:09.134
you can select nesting? Did you leave it like that or you have to pick
52:09.634 --> 52:12.891
it every time you do an EP? Um, oh yeah, I do
52:13.391 --> 52:16.279
have to. Yeah, you do have to go in there, um, every time and then
52:16.779 --> 52:20.021
just kind of add those tracks per, per new playlist or whatever.
52:20.589 --> 52:24.173
Okay. Yeah. All right, cool. Thank you, sir. Appreciate it.
52:24.600 --> 52:25.930
No problem. All right.
52:28.934 --> 52:30.487
Yeah, that was a, that was a great question.
52:36.620 --> 52:40.452
Um, I'm special, man. I'm telling you.
52:41.470 --> 52:44.405
Um, I have a cat and that brother know I don't play about my kitchen.
52:44.503 --> 52:47.752
I grill a lot, actually on the grill right now. And he will go,
52:48.250 --> 52:50.804
uh, sequester himself upstairs.
52:51.703 --> 52:55.622
Yeah, man. Um, yeah, dude, I had— I dealt
52:55.638 --> 52:59.348
with people's cats, man, where they just— cats and dogs. Um,
52:59.428 --> 53:02.480
cats I kind of understand, like they're just kind of— they're more independent.
53:02.785 --> 53:06.527
Um, dogs, like, man, dude, do y'all— people gotta train
53:06.639 --> 53:10.012
their dogs. Um, but yeah,
53:10.735 --> 53:13.529
uh, Allison with a clue, main instrumental. Um, that's good.
53:14.378 --> 53:18.395
Trey is not, doesn't look like he's excited that KJ
53:18.895 --> 53:22.090
was a Chiefs fan. With Disco you can, yeah,
53:22.187 --> 53:22.508
boom.
53:25.594 --> 53:29.471
Yep. So yeah, so that, I love that about Disco 'cause
53:29.971 --> 53:33.963
it keeps everything clean and like under one
53:34.094 --> 53:34.306
thing.