Top 25 Member Brian S Tarr Soft drink critique

Hi Brian S.Tarr

Thanks for your submission.

Here is your bullet point critique:

Submission 1

*Great energy in you track and anticipation drums towards the end of your track.
*We thought your track really could have began the way it ended with that drum swell. As soon as that came in, we were looking for the track to really take off but it ended.
*Also, we wanted to hear some exotic sounds as well. You have great textures and visual motion in your music, but we needed to hear some foreign instruments maybe a sitar, some exotic flute, etc... to make us feel like we are in a unique environment.
*Nice mix, we like the fact that your track feels like a party and feels like a record.
*We don't think you should have dropped the drums oput for as long as you did because it slows down the momentum of your track.
*Nicely done!

SUbmission 2

*Nice energy, but this track has much of the same critique as the first submission.
*Needs more exotic instrumentation.
*Tight drum programming.
*We probably need more of a unique identity on this one. It seems like more production on this one would have given it a stronger identity. Maybe a sample foreign female or male vocal would have set it off.


Thanks The 30 30 Team

top 25 member soft drink spot Irv Johnson

Hi Irv Johnson,

thanks for your soft drink submission.

SUBMISSION 1

Here is your bullet point critique.

*Very nice sonic textures. Nice intro and anticipation/build.
*We thought that your drums should have been in the dance format (four on the floor) to project more energy and less like a score piece.
*The piece builds like a score as opposed to feeling like a club track.
*Maybe if the track had vocals on top, it would feel like a song.
*We like your exotic instrumentation.
*We wold have loved to hear stronger drum programming on this track. The flashing lights and exotic stimuli beg for the kind of energy that needs stronger rhythms.
*Nice vibe however, it will be sent to the client.


SUBMISSION 2

Here is your bullet point critique:

*We love the introduction to your piece. Hot opening instrumentation.
*Nice drum transition into main groove.
*The track once it kicks in has an underscore feel as opposed to a record feel.
*We would have loved to have heard some mock vocal on top of the track to make it feel like a record.
*The build towards the end especially sounds score like.
*Great energy in your track! The build towards the end is a bit contrived and commercial like. The client wants a club track that sounds like a record. Let's see what they say!
*Very nice track .

Thanks
The 30 30 Team

TOP 25

1) Ominous 2) M Gordon 3) Blair Rogers 4) Chuck Lovejoy 5) Playboy Chi
6) Iamwater 7) Brian S.Tarr 8) Delphi Productions 9) Quixotic 10) Steve Pageot
11) Bash Thompson 12) Hb Produktionz 13) Gustavo 14) Glen Gabriel 15) Whitney Howard
16) Arnaldo Martinez 17) Portlife 18) Byiton 19) Oshea 20) Nick Cicero
21) Loren Hill 22) Marc Valentine 23) DJ Form 24) Mike Chan 25) Gregg Fine

ADMIRED YOUR WORK!

Hello Mr. Hanes,

I've listened to and admire your work. I wanted to know what I have to do to have my work considered for commercials, background TV or movies.

To whom and in what format would I send a sample.

Thank you for your time,

William

Finished The Book!!!

Happy New Year, Mr.Hanes. I finished reading your book like a week ago. And I'll say this again, you're amazing. Yeah, I'd love to talk about my objectives.

God bless.
P.RIOT

After reading your book......THE FIRE IS BACK!!!!

Thank you guys for getting my fire back on. Its been a year since i turned on my gear in my studio, and finally I'm back in there working again thanks to my co worker who put me on to you guys and the book that pretty much told me to get my ass up and make some music if I wanna get paid.
I also wanted an update on the tv show project since I submited but haven't heard anything yet. So again guys, thank you for sparking me up again.

THE TIM BIAS STORY

Hello Wendell

My name is Timothy Bias I am a musician and a composer from Washington D.C. I graduated from the Duke Ellington School of the Arts and I have a Bachelors Degree in Music from St. Augustine's College in Raleigh North Carolina. In the present time I am currently working as a music director at Congress United Methodist Church in Washington D.C. The instruments that I play are the trombone and piano as well as some other instruments. I have been composing music for six years now and playing imusic for about 23 years. My goal is to create great music for film, commerical, albums and other musical genres as well as to teach other how to read and play music.

THE BRIAN S. TARR STORY

2 years ago... 2007, i went to NYC with 1,500 dollars in my pocket... and had only 3 friends that actual lived in the NY area.
With in 4 months ... I had met the Publicist for the Marley's (Shilo ~ , been to lunch with her Daughter... went to Ky-Mani's listening party, met him... the Owner of his label... been to Legends recording Studio in Time Square, shook hands with the owner, sat with Sadeq Jean (Wyclef's little brother) at his home studio in Irvington, NJ, been to 5 other studios... worked with Mike Del Rio on a track..... Shook hands with DJ QUALI from Jersey, Q-TIP, Maxx Wayne from Blackhand, Dipsets Fresh, One-Shot, a couple WU-TANG affiliates, Jay-Ru the Damager, got a job @ Cornerstone Promotions, met the entire staff, and the FADER magazine team.

All in all, i've worked with some great people, and on a lot of projects. The key to working on most of these projects... not all... was working for free. Although this is where the VALUE part comes in handy. After a while of working for free, i valued my work more and more. So, i started to exchange favors. I have found this is the best way to collaborate when either party can't afford to pay out of pocket. "I've got something you need, you've got something i need." When working this way, there is only one neccessary question you should ask yourself. Is this exchange a fair, equal value, exchange of favors.

To sum it all up ... I have a feeling that my music career is going to lead me to be more of a manager of producers ... or an "Executive Producer" where i spend more of my time recruiting work and pulling projects together, rather than doing all the actual hands on production myself. Like i said, i follow my heart ~~~

I had a fantastic teacher in school when i was in Ft. Lauderdale, she was my lighting professeur... She told me ... that by following your heart, you may not be doing what you thought you would be doing, or thought you wanted to be doing... But no matter what it is that you end up making a career of ... you WILL LOVE DOING IT ... and that i can promise you.


Brian S. Tarr

LIQUID FUSION

Dear Wendell Hanes,

Hi!!! Great to hear you at the NARAS Grammy 30/30 Event.

Bought your ebook right now - 30/30 - pdf download.

Spent years producing / engineering / writing rock blues.

Recently played out this year as a rock blues guitarist in my band - Liquid Fusion (R) and playing for friend's bands:
Lion's Den / Columbia Media Networking Night / B.B. King Blues Club (May 2008 / August 2008); Mercury Lounge / Kenny's Castaways.

Thank you for being so willing to teach others how to best move forward in the music business to find and make success.

Looking forward to learning from a great musician and producer - how to sell music to commercials!!


All the Best,

Brewer Shettles

it's fantastic! (the book)

Hi The 30 30 Team,

Thanks for the email.
It was great talking with Wendell over the phone today!

I'm reading the book (about halfway now). It's fantastic! I would recommend it to anyone, even people in other businesses. The book, the NARAS panel and listening to his music for commercials on the Volition Sound website totally changed my old image and concept about the commercial music. I'm suddenly getting more and more attracted to it and excited to be a member of the 30 30.

Thank you so much!

Yumiko

LED ZEPPELLIN

Hi Wendell:

I'm a new member to NARAS and attended your panel a few weeks ago. Looking forward to picking up your book! I'm a composer/vocalist/multi-instrumental and write for a variety of projects. Also play bass/keys/mandolin in Lez Zeppelin :)

GRAMMY SEMINAR

Wendell Hane,

Hi!!!!! Heard you speak at the Grammy 30/30 Event 11/19. You were right on!! The spart that lit the fire!! Great to hear you!!

Congratulations on the Coke spot!!!!! It will go great!!!

In 1985, I worked as Dir Asst, DeVito Productions, NYC film studio on19th St off 5th Ave. One bonus was editing the Director’s commercial 3/4" spots before he met with ad agency people.

One Friday, at 4:00pm, I had the once in a lifetime chance of working on a Diet Coke spot. We busted gut all weekend. Never stopped working. The spot aired weeks later in Superbowl 1985. My job as asst video editor was to look through all of Coke’s footage for scenes of people NOT holding cans of Coke!!!! I found them!!

The Time is Right is a good spot. Played it for Eric Clapton and he loved it (while working in a limo company). Coke turned it down as it wasn't written by their ad agency.

Perfect for the Obama Generation / Vision!!!!!

If you have an opening for a second spot, I am willing to open writing to you.

Sincerely,
Brewer