Rejection of my track Vintage TV Show Rock

Hi, guys!

Please help me out. Just recieved a message, that my track is rejected :frowning:
Here it is

The reason was ‘it isn’t at the quality standard’

I’d appreciate any feedback! Many thanks :slight_smile:

Hi. For me - the main problem is drums. There is just too much of them - many of totally different beats and breaks (or fills). The drums are definitely distracting attention, reviewers don’t like this.

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@FlameMusic Thank you for feedback! I really didn’t even think about it =)

The musical idea of the song is very suitable for this market, although I think there are some things that should be improved:

1. Production - I think your production does not stand up to today’s standart. I suggest you spend some time experimenting with the sounds and audio processing. Try making them more different, fresh or just more interesting to listen to. (As an arranger you choose what instrument would fit for the song, but as a producer you choose how that instrument should sound.)
2. Arrangement - lacks dynamic. It is a good idea to have 3 dynamic layers in your arrangement. 1st layer is the “in your face” stuff (very detailed and dry), 2nd layer is the meat of the song, and 3rd layer is a background, which holds all the reverb, effects, pads, ambient sounds, delays etc… (3rd layer is tricky because it is not something you pay your attention to when listening to a song, but if you analyze closely, you will notice that any good arrangement always has one.) Your track has all the elements in the 2nd layer.
3. Mixing - overall your song lacks contrast between elements. When you decide to add new element to a song, try deciding from the start where exactly it will sit in the mix (frequency range, dynamic layer, panning) and pick the instrument/sound that works good for that place, produce and arrange it accordingly. And make sure this place is not already taken by another element in your song.)
Also, the mix is a bit dull comparing to other stuff on the market in that genre. Try using more saturation.

Hope I could help,

Good luck!

Also FlameMusic was right about the drums. They ruin the “background quality” of the item.


@DarkStreet, thank you so much for your detailed feedback!

Now I understand much more about what is important for clients and what the reviewers are paying attention to.

In this case, for example, was it better to take different guitars for solo and rhythm?

Could you please tell a little bit more about 3 dynamic layers? Did I understand correctly that the first layer should contain dry instruments without reverb and delay (maybe with just a little slapback delay)? For example, main guitar, snare, kick and bass?
In the second layer - rhythm guitar, piano (all instruments with a little touch of reverb and delay); and the third layer - pads, guitar harmonix, ‘ear candies’, such as transition effects and bells and also tons of reverb and delay? :slight_smile:

or is it about separating the reverb from the instrument - i.e. using more predelay, sidechaining the reverb, etc.?

or perhaps something else?

Сan you please tell me if it’s acceptable to make the main guitar in mono as it is usually recorded in the studio?

I had long doubts about that moment, because when I switched to mono, the guitar fell back, becoming a “small object”, as if it sounded far away from us. I ended up doing it in stereo with a narrow pan, and then I had a pretty empty center of the mix; I thought that was good, because we left the center for the speaker’s voice, which is likely to be in mono. Or is that a mistake on my part?

about the saturation - I got it, thanks for the advice! :wink:

I’m really looking forward to your answer :nerd_face:

1. It would be better if rhythm guitar sounded different from solo guitar, but that is more of a mixing issue. You are thinking about combining sounds before you thought about the sounds themselves.
My point here was that each element should sound fresh, interesting and self-sufficient by itself.
As a producer you should dig more into each element and make sure each one of them has strong and obvious character before you start combining those elements.
(It is hard to explain and understand because there are no strict rules on production, no right or wrong, it is a subjective thing, like fashion. A T-shirt can cost 10$ or 1000$ although they technically are the same. It is about style and taste.)


  • the drum set in your song is very generic and has no strong character or style to it. The sounds of which it consists are not interesting to listen to by themselves.

  • same thing with bass. it sounds just like a simple clean bass guitar. Nothing special.

  • on accents and transitions between sections items on the market usually have interesting risers, reverse sound effects, big wide drum hits, and you just have small cymbal which doesn’t even stand out from the rest of the drum kit.
    (Again, it is not about how bad your music is, it’s more about how high today’s stardarts are. Hope I am not killing your creative enthusiasm).

2. You got the idea right, but don’t take it to literally. It’s not like each instrument can only have one spot. If you do so, the arrangement and mix will sound very weird and unrealistic, because that’s not how sound acts in real life. Most of the time one element will contain information in multiple layers.
(It is like with EQ: if you decide your guitar is in the middle, you boost the mid range a bit, but you don’t cut off everything else it has.)
My point here was that arrangement sounds more rich and full when it has a certain amount of depth in it, and the difference between how close the “close sounds” feel compared to how far the “far sounds” feel is the defining factor. In the song you posted this scale is very narrow, so I pointed that out.
And also important thing here is - trust your ears more than books. It does not matter if it logically seems right to not have reverb on the close sounds (it actually is not true, there is reverb everywhere), if it feels weird without it - just put it there. The trick is to full the listener by making him/her feel that the sound is closer or further then something else in the song.

3. I am not a rock genre expert, because I usually work with orchestral and cinematic stuff, but I personally don’t see any problems with mono guitars. The mid mono lead guitar with side double-tracked hard panned rhythm guitars seems like a typical thing to me. The thing about making elements in mono is - they sound “worse” when you “A/B” them between mono/stereo, but when you put them in the mix, they automatically have that very sharp and defined contrast image, so you can instantly tell where exactly sound sits in the mix. Also when in mono, elements work great with stereo effects (as sends/aux) like reverb and ping pong delays. There is much more contrast and clarity between them.
And if you are worried about the dialogues and speakers, you can always include a background or no melody version in your item.

Wow, I have to learn how to write shorter replies. This forum starts to look like a novel. :slight_smile:

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Man, that’s amazing! Thank you so much for such a detailed answer! You should write a book:)
Now I completely understand what’s wrong, gonna work hard on improving my next mix.