David Croft

What is happening, everybody, and welcome back to another episode of the 52 Cues podcast, where each week we talk all about the world of production, library and sync music.

My name is Dave Croft, and it is so good to be here with you today.

You know, whether you are watching on YouTube or listening to the audio podcast on the go, Just know that I appreciate you just like I appreciate our family and friends subscribers who really do keep all of this going.

If you want to learn more, you can head over to 52qs.com or stick around because I'm going to be talking about that a little bit later in today's episode.

So what do you do when you want to instantly evoke the sound of the Outback? Well, you break out the didgeridoo and I just happened to have one.

What is happening friends and family of 52 Q's.

This is Dave Croft and welcome back to another Q breakdown.

And today we're going to be taking a listen to Outback Intrigue, which is an Australian flavored This was for a brief that came in from a publisher specifically looking for something for The Bachelor.

If you liked this story, follow the Claims Free Architect in your favorite podcast app.

The original Prodemnity stories were written by David Croft and have been adapted for audio by Gordon Grice.

The stories are performed by Liam Gadsby and produced by Revelator Studio, Toronto.

The publisher and executive producer of the written stories and audio episodes is Prodemnity Insurance Company, Toronto.

What is happening, everybody, and welcome back to another episode of the 52 Cues podcast, where each week we talk ad nauseum about the production library and sync music industry.

My name is Dave Croft, and it is so good to be here with you today.

You know, whether you are watching on YouTube or listening to the audio on the go in your favorite podcast app, Just know that we appreciate you just like we appreciate our family and friends subscribers who make all of this possible.

If you want to join the community, you can head over to 52Qs.com.

[laughs]

... and my little mallet that I learned from this guy Dave Croft a couple years ago.

Who's that?

And, uh, I cr- I created a really cool sound that I used in my cue, and, uh, it actually got called out during class as being, as being one of the good ones, so that was fun.

...

I got, I got so much out of it.

He's a great guy.

Um, it was really cool to be in a cohort of, of other like-minded composers who had similar interests, similar goals.