all fake I wouldn\'t know where to begin putting my music to paper. Its all written in synch with the animation which is why its so \"hit\" oriented
they are lo fi so its easy to trick the ear. Plus its acoustic modeler for SOME of the verb
The horns sound horribly fake to my ear. Too much low mids. but the rest does surprise me some times. I BELIEVE all of the \"fast\" track is all AO, but I\'m not so sure anymore. (I was a bad record keeper for a while...wait I still am). I KNOW I used Acoustic Mirror as some of the reverb process, it helps alot. Each of those tracks was done in one night each. FREAKING looong nights. I tried to emulate/simulate what Elfman was doing in the early episodes. My stupid *** didn\'t master/limit the file, so it was REALLY quiet compared to everyone else\'s cue......I worked my *** off on it, but I think volume had something to do with the fact that I wasn\'t picked..... then again I also suck compared to alot of composers so that could be it as well . Also The guy who DID get picked had some different aproaches...... My cues are a bit more \"stalling-like\" so the cues are really on \"hit\" I think Tim wanted something less \"cartoon\"....one day I \'ll get a gig where I can write that kind of stuff. I think it would be fun.... ok write that kind of stuff and get paid
Don\'t put your work down, guy. Some of it is quite impressive. Especially considering you don\'t use paper.
I try to avoid writing my stuff down until it\'s really finished, but I never work with more than a quintet live (except for two original compositions I scored for big band-and they couldn\'t read either one! -I can understand having problems with the first one, it\'s in 11/8. But the next one I wrote SPECIFICALLY to be easy, and called it \'The Kinder, Gentler Groove-very Basie-and they couldn\'t get that either!)
I just don\'t have the patience (or maybe the ears) to write for orchestra. That you do, and do it track at a time, really impresses me.
Don\'t sell yourself short-there are too many out there willing to do it for you!
When you think to yourself, \"I suck!\" translate that to \"What I did was not what they wanted-but it was Really Good!\"
You\'re NOT a mind reader (although if somebody want Elfman and doesn\'t want to pay those bux, it helps to be able to say, \"Hey, I can do that.\"
But that\'s only good to get in the door. Afterwards, you want people to say, \"Get me King! He does what I like!\"
I\'ve heard your demos-you certainly could get better, but so could every human on the planet, Elfman and Williams included!
And if you can do what you do as well as you do (and obviously, you do! ) and don\'t believe that you can do it, then...
You really ARE an idiot!!!
I know a bunch of guys who only play to about half of what they\'re capable of, just because they don\'t believe in themselves. (Of course I know a bunch MORE that think they\'re WAY better than they are!!!)
But a big part of that creativity is the self-confidence that comes from knowing that you can do it, not because somebody else told you, but because you can hear for yourself.
Peace and love, bro\' Keep making those good sounds. Your break will come one day. Or maybe it won\'t. But making music isn\'t about fame and fortune, your reward is the act of creation, and the music itself. That had better be enough, or you\'re in the wrong biz!
You know Dash, I jsut posted a siilar comment about music and the biz in another forum a few days go.
Thanks for the kind words about the music.
It might sound like Im trying to play a sympathy card when I say I suck, its more me trying to remind myself I have a ways to go. Sort of to humble myself. The whole suck comment is more in comparison to other composers (some of which are on this forum). I know the same can be said on the other spctrum (that I\'m quite good compared to some), but if I start thinking that way, I\'m gonna lose track of what I WANT to achieve....which I\'m probably still figuring out as I go.
I think while I\'m wriing, I\'m one of those guys who thinks its really bad, but then comes back to it and finds out that it asn\'t AS bad as I thought, or that I\'m not focusing on the parts I hate as much.
I love playing \"mimic\" for gigs, it shows in the way I do my sound design even . I dont think I will truely have a \"Stle\" or \"sound\" until I learn more about alot of other styles, and more about music in general.
You\'re right believing in youself is key, and I do, I wouldn\'t take on some of the gigs I get without doing so. What I KNOW thoug, s I ahve a lot to learn, Still I LOVE this fat, and knowing it. I also take gigs to force myself to learn new things. Teh stainboy stuff was my first stab animation music in orchestral form. I learned alot from the experience, in both orchestration techniques that worked and sequencing/mixing techniques that worked. I thik this is a key to my love of doing music for a libing, its because I\'m always learning.
Also, another big factor in the reasoning of my skills, is the fact taht....I DONT KNOW WHAT THE HELL I\'M DOING!! I honestly listen to some of those old cues, and it would take me forever to figure out what I\'d done in terms of composing....and they aren\'t THAT old maybe only about a year and a half or so. This is one of the things that I\'m kidn of sick of, which is why I\'m trying to learn a bit more. I\'d like to knwo what the hell I\'m doin, and hopefully improve, and when I lok at things in taht respect, I start to think I\'ve go SO MUCH to learn, in some ways that brings me down, because I feel I should have learned this stuff along tie ago when I was playing in rock bands. I know I\'llfigure it out one day, but until then....
I thought some of the brass on those demos sounded incredibly real! Whatever verb you used and the way you mixed it was very cool indeed.
Nice work with the compositions as well! Very colorful and cartoony. To me, the composition is always more important than how real the samples sound anyway.
What strings did you use as well?
[This message has been edited by Damon (edited 12-16-2001).]
Damon. I\'m pretty sure that all the samples in the stainboy stuff is AO. With some exceptions of Roland Orch board in there somewhere. I dont think I used anything else. I did this back when I was in my reverb crazy days. I\'d use multiple reverbs to achive a sound I liked. the staccattos do sound real, and its pretty easy to get stacattos to soudn that way. Its the sustaining frenchhrns that sound bad to me. Especially in headphones. They have this low mids \"boxy\" sound. The distance is right, but it loses the effect because of the Mid range.
King, I never felt you were playing for sympathy. I\'ve said the same things about myself and my own music, so I figured you were coming from pretty much the same place.
I just wanted to let you know some of us like what you\'re doing, so don\'t be thinking about packing it in...
And you\'re right, hearing the REALLY good ones is what gives us the kick in the butt to carry on learning. There are two tricks, though-know what you know and steal what you don\'t! At least in jazz, where everybody steals from everybody!
It is frustrating. My MAIN issue is being able to come back to a melody/theme and figure it out quickly if I work on a sequel or something. While, yeah, I can go back to the MIDI file. I\'d lke to be able to get back into the \"feel\" of the music quicker. That means understanding what I\'d done before
Chris I\'m sure, alot of composers feel like they have a lot to learn, or that they aren\'t as good as other people think. Also I DO believe its possible to be moved by your own pieces. I\'ve created music that I simply cannot stop listening to for some time. I\'m not so sure I\'m being moved...but I do like it
Really...I am an Idiot
[This message has been edited by KingIdiot (edited 12-17-2001).]