A major company I\'ve had my eye on for a while has announced a couple upcoming projects and I have a chance (I think) at being the principal composer for one of these. I\'ve put together a montage of six clips so far.. I will probably add more later. I\'m pretty confident on the clips I\'ve chosen, but I\'m not so sure the compilation itself is done well. Plus, I had a technical problem.. when I burned this to CD, I basically went into SoundForge, split up each clip into separate WAV files and burned those using Nero. Now, when playing the CD, there\'s a slight pop at the beginning of each track. As an afterthought now, I bet I didn\'t burn in Disc-at-Once like I should\'ve. I think Track-at-Once is the mode that creates pops between tracks.
Anyway, have a listen if you have time. Any constructive advice is welcome.
Very nice and very good mix! But as you said the some of the parts are following up in a bit an artificial way. A bit like a catalogue. Maybe you can compose some transitions? So it would get more \"fluid\". 1 and 2 work well together I think but the strings are a bit suprising, maybe if the brass would get progressivly calm (have a bit of wouldwinds) - suspense - and then cords?
Anyway, superb work!
Hey Sam, Ironic that you are posting this after my question today. Again a case of having heard all your stuff separately over the last few months and then hearing them now all together. I still really like all of the tracks but I have to agree on getting them to shine in the demo format. If you think about all the time put into the piece\'s of music one would have to concede that they deserve an equal ammount of time to marry them together in that format. My opinion would be not to space but to somehow join the pieces. whether through additional musical bridges or crossfades. ...but that\'s just my opinion...I could be wrong.
ps I notice a lack of any mission impossible [img]images/icons/smile.gif[/img]
They\'re crossfaded now, though. I\'m not sure I like that format. I somehow don\'t think it matters too much whether they\'re spaced out by 1 second of silence or crossfaded. I think maybe what audio directors are looking for are:
1) Production quality. Does it sound good.. is it clear, crisp, EQ\'d nicely, the right amount of reverb, etc.
2) Versatility. This one depends on the game company. Some game companies tend to have a focus on a certain genre.. some companies produce a lot of RPGs, others a lot of shooters, etc. If it\'s a big general company like EA, then versatility is probably a good thing. However, if it\'s a company that favors a certain genre, then maybe what\'s important is...
3) Specializiation. Are you good at scoring for the particular genre the company tends to focus on? Your vision has to meet theirs to really impress them, because chances are if they focus on a genre, they probably love it to death, and they\'re going to be picky about what music they decide to put in their games.
4) Compositional skill. Of course, you have to be able to write good stuff. Even if you have the above, without this, forget it. [img]images/icons/smile.gif[/img]
Anyone care to add to the list above? Of course, maybe I\'m way off since I\'m still a clueless newbie.. but I think those points above would be important to consider when creating a demo CD. I think one thing is clear though. Never send out a demo CD to a company without researching them. Best way is to go on http://www.gamespot.com/ and search for the company name. Then you can see a list of their games.