Recording - April 2016 - 27

complete a song that wound up on
Felder's record. It's a lullaby; I gave him
the track and then he wrote the melody
and lyrics about his young son.
When you do get spec work, how much
guidance do you get from clients? Do
they just say "I need a cue that's such
and such long and this general theme?"
or do you get guidance, do you get
people working over your shoulder?
When I get an email from Film Music
Network (filmmusic.net), they are usually
very specific. Sometimes they have examples of what they're looking for. They will
tell you if they want 30 and 60 second
breakouts of the main theme, or whether it's
a five minute piece. They'll usually say if it's
industrial or for a medical company or a
short film. They give you a lot of guidance.

It's fun when they don't know the technical language. Like sometimes they'll
say, "It's kinda green, we need it to be a
little more magenta." And you go "Uh,
OK, great." And then you'll send something that you think is perfectly in line
with what they're saying...
And they'll say "no, no, no, that's more
purple!"
"Yeah, that's too purple. No, go back to
the green and make it three times as long."
Yeah, you have to jump through some
hoops, but that's fine-you have to take
their lead because you're doing this job for
money. If I'm writing my own music for my
own personal joy or for my own shows,
I'm only beholden to myself-and I have to
tell you, I'm probably as tough on myself
as anybody I've ever worked for.
Yeah, you need to be.
You can't get complacent. It's good to
have a collaborator sometimes. They
goose you and they like keep you from
falling asleep, you know what I mean? I
find it a bit more rewarding to work
things out on my own, but I do love being
in a room with talented artists and musicians and writers.

Sometimes in your own library there's
already some stuff that's already really
appropriate for what they want. After a
while, once you get three, four, five hundred pieces of music-and writing 500
pieces isn't all that hard, you know?-
then you're just sort of managing that
library when these calls come in.
I get a lot of satisfaction about being
able to use my library for non-exclusive
[cue] requests that come in. I feel really
good about being able to continue to
use some pieces of music that I wrote,
that I love. I'm able to send a hundred
of them out there and I'll get like five
that will come back and actually pay. It's
rewarding-you can take that one track,
you can do different versions of it, and
send it multiple times.
Other times, like if it's a beer
commercial and it's coming from
an ad agency rather than a
music house, they are always
extremely specific about what
they are looking for, because
that's how they spend their
days. They are really discussing
how to maximize grabbing
somebody's attention and it's
incredibly narrow targets that
they are aiming for. But those
gigs pay far better than library
work-ten times the money, in
my experience!

Something you said earlier made me
smile. It was a number you threw out
very casually I think some of our readers will be quailing at, you said "you
know, once you have a library of three,
four, five hundred songs and let's face
it, that's not hard."
If you're doing little ditties, little 30
second pieces-working with the tools
that inspire you, making decisions... you
could do one or two of those in a day if
you wanted to. Work like a fiend for
300 days, and at the end of the year
you'll have 300 to 600 pieces... and
two months of your own to play with.
Big epic songs? Maybe that's reaching,
but library cues... come on, you've got
five hundred in you right now, I'll bet!
Learn more at
www.timothydrurymusic.com and
www.instagram.com/timothydrury

RECORDING April 2016

27


http://www.filmmusic.net http://www.timothydrurymusic.com http://www.instagram.com/timothydrury http://www.adam-audio.com

Table of Contents for the Digital Edition of Recording - April 2016

Contents
Recording - April 2016 - Intro
Recording - April 2016 - Cover1
Recording - April 2016 - Cover2
Recording - April 2016 - 1
Recording - April 2016 - 2
Recording - April 2016 - 3
Recording - April 2016 - 4
Recording - April 2016 - 5
Recording - April 2016 - Contents
Recording - April 2016 - 7
Recording - April 2016 - 8
Recording - April 2016 - 9
Recording - April 2016 - 10
Recording - April 2016 - 11
Recording - April 2016 - 12
Recording - April 2016 - 13
Recording - April 2016 - 14
Recording - April 2016 - 15
Recording - April 2016 - 16
Recording - April 2016 - 17
Recording - April 2016 - 18
Recording - April 2016 - 19
Recording - April 2016 - 20
Recording - April 2016 - 21
Recording - April 2016 - 22
Recording - April 2016 - 23
Recording - April 2016 - 24
Recording - April 2016 - 25
Recording - April 2016 - 26
Recording - April 2016 - 27
Recording - April 2016 - 28
Recording - April 2016 - 29
Recording - April 2016 - 30
Recording - April 2016 - 31
Recording - April 2016 - 32
Recording - April 2016 - 33
Recording - April 2016 - 34
Recording - April 2016 - 35
Recording - April 2016 - 36
Recording - April 2016 - 37
Recording - April 2016 - 38
Recording - April 2016 - 39
Recording - April 2016 - 40
Recording - April 2016 - 41
Recording - April 2016 - 42
Recording - April 2016 - 43
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Recording - April 2016 - 45
Recording - April 2016 - 46
Recording - April 2016 - 47
Recording - April 2016 - 48
Recording - April 2016 - 49
Recording - April 2016 - 50
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Recording - April 2016 - 57
Recording - April 2016 - 58
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Recording - April 2016 - 60
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Recording - April 2016 - 70
Recording - April 2016 - 71
Recording - April 2016 - 72
Recording - April 2016 - Cover3
Recording - April 2016 - Cover4
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