Oh help me with a director who is into temp tracks.

It's happened again. The director of the video project I'm composing for tells me my music is beautiful but she wants something more cheerful. She is sending me her temp tracks so I can write something like them. Ever heard of temp-track syndrome?? Sheesh. It's like the time the dance choreographer hands ya the tape of the 'Celtic Music' so you can write something 'like it.' Take the tape home and it turns out to be Andean folk music, not Celtic!
 
Anybody have any advice on how to tactfully deal with directors who get stuck on the music they are already familiar with?
 
Budsy

I've got to agree with Guitarhacker on this one.
It doesn't matter if you are right or wrong, the only real solution is to give them what they want.

In these type of scenarios, I might softly suggest something - but if they don't bite, I don't press.

Budsy


It's happened again. The director of the video project I'm composing for tells me my music is beautiful but she wants something more cheerful. She is sending me her temp tracks so I can write something like them. Ever heard of temp-track syndrome?? Sheesh. It's like the time the dance choreographer hands ya the tape of the 'Celtic Music' so you can write something 'like it.' Take the tape home and it turns out to be Andean folk music, not Celtic!
 
Anybody have any advice on how to tactfully deal with directors who get stuck on the music they are already familiar with?
 
Budsy

Two ways to look at this, Budsy. You're either in business to make money, or you've made enough money to where you can pick and choose the projects you feel are best for you and your business. Working with people that have a blue-print in their minds ahead of time is always going to be a bit challenging. Or, sometimes we DO write beautiful music that they are sincere about when they praise us. Unfortunately, that doesn't make the music acceptable for THEIR project. Another thing to keep in mind that often times, when people come up with a rough sketch of something, they listen to it so much, it etches things in stone for them a bit more and them become biased.
 
Now the good thing is, most of these "sketchers" as I call them, are not very good at performing. What if you made a mention of taking her stuff and revamping it playing it like a real player would? This would definitely make her happy I would assume. You know, sort of produce what she's given and change it up to make it sound more professional? If the pay is the same, it's just another job to put food on your table. Granted, we're all passionate as musicians, but sometimes "client work" has nothing to do with *OUR* passion. You just have to give the people what they want, ya know?
 
This is one of the reasons I got out of that kind of work and just do specialty work these days. Specialty meaning, if I record someone, they have to deal with how I do things here and I will not take on a job I'm not happy with. They also have to be really good at what they do. No young kids making noise...these are people that are going to pay big bucks to have something serious recorded to where I'm going to go through it with a fine toothed comb and it won't leave the studio until it's perfect.
 
Even with my mastering I do...I turn quite a few clients away each day because I will not mix them loud and enter the loudness wars. I'm thankful that I'm not in a position to where I absolutely need the money and HAVE to take on jobs. It's great to be in that position and I thank God every day for it. I can be a bit more passionate that way and also have a bit more control. It gains me quite a few enemies as well, but that's ok. I'd rather do something because I love it and it's the right thing to do other than do something I absolutely hate for the sake of making a buck. At the end of the day, our names get stamped on this stuff. If it's not a good representation of you and what you're about, your name shouldn't go on it unless you're struggling to pay your bills and have no other alternative. Unfortunately, what you're being faced with here happens quite a bit for everyone in this field. You just have to roll with the punches if this is your way of making a living. Just my 0.2. Best of luck.

Excellent thread ... +1 to G_Hacker and +1 Danny

I don't make my living with my music, but I certainly emulate many vibes and genres for *beauty's sake* ( ... with the help of grooves and other performers).

If I as an artist, producer, or podiatrist (not much different) select a beauty that is proven by my client and myself ... that is oft best for my ego and conscience.

Having your client's feedback is strenuous as hades.  As difficult as having fellow artists crit you, based on their genre-paradigms and a lot of subjectivity.  I feel like I'm hangin' naked on the cross ... etc.

Hopefully, your client is sympathetic and not too moody nor caffeinated ... as her sine waves may oscillate worse than mine. 

Seriously, I'd try to suck up the reproach, turn the other cheek, and be grateful for any crumbs under the table ... and/or ample food and ramnent.  JMO, IMHO!

Cutting off an ear before ever selling a painting or composition ... a remote option.

Utmost cheers!

Philip