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Topic: Spiderman Train Fight

  1. #1

    Spiderman Train Fight

    Hi all!

    Been a while since I have posted anything here (since I have been using other samples). I got out GPO4 again the other day, which I really enjoy using, and decided to try my hand at scoring this scene with my own music from Spiderman 2 for practice. I'm still tweaking it, there are a few rough patches and some odd articulations here and there, but this it so far.

    Most of it is GPO, I did add a few extra articulation overlays from EWQL and a few percussion tracks and choir, kept it to a minimum though as I wanted it to be mostly all GPO.

    http://www.youtube.com/watch?v=m3H1zcQOpJk (copy and paste the link if it doesn't work, I have the video on 'unlisted')

    (Ignore the 'chris young' thing, I ripped the original video from youtube, I should have started out with a higher quality version from my DVD, got too carried away. I'll probably put up a higher quality version later).


  2. #2

    Re: Spiderman Train Fight

    Wow, that's breathtaking. What reverb did you use?

  3. #3

    Re: Spiderman Train Fight

    Wow, all your stuff sounds pretty amazing. Could easily be on the film track in that form and you wouldn't know it was virtual.

    How do you tie it all together for that sound? Is there a lot of mixing afterwards?
    YouTube Music:
    My Channel

  4. #4

    Re: Spiderman Train Fight

    That was better than the original!
    Garam Heo, Contemporary Christian Artist
    Music produced by Christopher and Craig Reeves

  5. #5

    Re: Spiderman Train Fight

    Chris! This sounds great to me. You captured the action to sound very well. How did you get all of that to sync up?

  6. #6

    Re: Spiderman Train Fight

    I'm curious in your writing procedure. Do you use a notation program or a daw or both?
    Do you start with a piano to sketch out the piece or are you improvising?
    Thanks and keep up the great work!

    Very Inspiring!


  7. #7

    Re: Spiderman Train Fight

    Thanks for all the comments.

    For GPO I used Sonitus FX reverb and tweak it a bit to give the illusion of an orchestral setting but at the same time I keep it dry enough so that any hard articulations will come through and not get lost in the background too much. On the EWQL overlays I used their built in Reverb setting to match the other reverb a little but I made them a tiny bit dryer since they were mainly used to accent and enhance the GPO bits I wanted to overly. (At a lower volume)

    I notate in Sonar and then do all the dynamics with the piano roll drawing in mod data etc. Although the notation features are limited in most DAW's its enough to get the notes in with a bit of tweaking on the score.

    The way I work is basically orchestrate as I go, starting with the most important parts depending on the section I'm doing, so maybe the strings, then I'll add the percussion, then the brass, etc. I don't have a keyboard by the computer at the moment so I just sit there and hum my ideas out, once I get started they start flowing...at least that's the idea, ha!

    As for the syncing I had the video on my second monitor and basically went from there - adjusting bars and tempo as needed, although I try to avoid changing the tempo too much when there's music playing, usually manages to work out with a bit of subtle tweaking as well as planning for whats coming up next in the scene...as well as a lot of luck.

    I generally mix as I go, with this one I did a bit of mixing afterwards too but I haven't totally finished that. What I did was write the whole thing out with GPO, then did all the GPO overdubs (adding a few extra horn bits in places, woodwinds, etc.) then I overdubbed a few of the strings and horns with EWQL (not much though because I wanted to keep it mainly GPO, so it was just a little bit). Not really a whole lot of mixing afterwards other than just doing it as I went along, a little bit of extra EQ and panning afterwards.

    One thing I usually experiment with if I want to get an even bigger sound...when it comes to compression and reverb is this idea of parrallel processing, sends, etc...so maybe having a basic reverb on the strings or the brass let's say, then sending that bus to another master bus with a much larger reverb on it, but played very quietly, so it just creates this gentle wash in the background. This doesn't always work for fast action so I turn it down for that part but for other uses it can be extremely useful.

    As for parralel compression, you take the percussion tracks and send them all to a master bus called let's say 'percussion', then you send that percussion bus to another bus called 'p comp' or whatever you want to call it which means you now have two percussion tracks playing. (Or you can simply just double it). Next you put a huge amount of compression on that 'p comp' bus you just made, so that it sounds really crushed and huge, overly compressed, then you mix that right down to a very very low volume, so that when you combine it with the other less processed percussion it gives it this extra emphasis and underlying boost of sound. This is something I have just started playing with lately and it has been quite effective.

    Oops that came out long.

  8. #8

    Re: Spiderman Train Fight

    "...Wiktor's a Jekyll-Hyde personality..." - Lycos Music
    "...Wiktor's a Jekyll-Hyde personality..." - Lycos Music

  9. #9

    Re: Spiderman Train Fight

    Chris, could you perhaps post an MP3 of just the music? I don't know what's going on, but I currently am unable to deal with You Tube. I get picture, but the sound is the loudest static I've ever heard. Not just on your vid, All of the YT vids. It's the only site my spiffy new computer isn't handling for some very mysterious and unknown reason.

    Pretty please - an MP3?

    EDIT: Or I guess I need to try downloading from YT and using a media player. ----


  10. #10

    Re: Spiderman Train Fight

    Wow, I can't believe you were able to put that all in with a mouse! lol.
    Garam Heo, Contemporary Christian Artist
    Music produced by Christopher and Craig Reeves

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