Composers: "Is this the waiting line? Who is next? Am I next?"

Before I post my thread, I would like all involved to know that I realize this is an experimental procedure we are dealing with in the music crowd sourcing project for the game. So this may or may not be my first inquiry on this matter. But I thought it might be important enough to benefit composers involved with this project.

I just wanted to know how an individual(s) can find or receive information about what "waiting" position, if any, they are in when submitting for a "music bounty" that might have numerous submissions?

Example: I review the music bounty spreadsheet and the current spreadsheet shows that the bounty is available. So I decided to submit a composition. I unknowingly find out that 1 to 4 composers might have also submitted compositions to the same bounty. How do we find out what "waiting" position we are in to be reviewed for the same bounty?

Furthermore, what if we see a bounty that has been reserved already, and want to know how many composers are waiting for that particular bounty, in the case that the original submission doesn't get accepted?

Please shed some light on this.
Thank you.

 

I only know a few pieces of the answer. (Plus, I might be wrong) Here's what I think I know, however:

I'm not sure that there is a queue or "line" per se. I think that if multiple people ask for a seven day lockout at the same time on a track that's currently open, each submission gets evaluated by FireLotus and Holt depending on which of the concept pieces they like the best or feel best fits the musical idea that they're looking for. Together they select the artist of their choice and give them a seven day lockout where they can develop that song. I don't think it's based on a waiting list. If after seven days have elapsed, that song is not accepted, that song slot becomes open again, and anyone else who has previously submitted a request and any new submissions will be considered for the next seven day lockout. The individual that won the lockout previously can re-submit again after five days, which makes them unable to participate in the second "phase" of evaluation.

FireLotus and Holt might be willing to share how many people are applying for a lockout on a particular track, but that might be a little difficult for them to track, what with everything else they're doing. I am not in a position to say one way or the other on that, though.

Disclaimer: There's a reasonable chance that I have no idea what I'm talking about. I'm really just guessing based on what I've heard and seen.

 

The purpose of starting a conversation/PM with us is so that we have the time and date of submissions. Not every song will be acceptable for every theme. Front Line songs are particularly important and have to be scrutinized with care.

Should you want to produce a song that fits in a slot that has a lockout, you must wait until the 7 days. If there are others who asked to do it (and their ideas were acceptable), they'll be offered it. Since I compose and FireLotus manages the forums, we can't take the time to share a waiting list.

But, an example right off the bat was that we received several requests for a lockout on Hail Novia! right away. Only one person could be given the lockout.

I don't think this is an exact science, nor do I think we can speak of it in terms of 'fair' -- the process is as fair and streamlined as we can make it, but a certain amount of decision making has to be performed that is based on sound judgement, when it comes to measuring the theme appropriateness of music. If your piece is rejected in one spot, I think we'd all appreciate you keeping your chin up, and not taking it personally.

Remember, we are getting this done together, in a weird 'crowdsourcing' kind of way, and I think we'll make optimal progress using the system and structure that Portalarium has been so kind as to set up for us. I'm sure it will not be 'perfect', but the only way to have made it perfect would have been to hire an in-house composer... which would mean none of us would get the chance to do any music at all.

For one, no matter the frustrations or obstacles, I am very grateful for the opportunity to compose for a Richard Garriott game.