This is the first time I post some demos on this site. I would love to hear your comments on these two pieces. They were made for a short film and the producer was really happy with them... But now it is time to hear what the pros have to say...
Thanks for listening and for your detailled comments. I really appreciate it!
About the final sound vs EQing thing, I have to confess I didn\'t use EQ at all, since I have no idea how it can help me... I\'m sure that I\'ll improve my mixing technique over the years... but I find it is really hard to learn that by myself...
To answer your question about the intermezzo, it is a xylophone that plays in the back (LOP). Your translation of the title is right... and you guessed right: the background is really related with water dripping.
About the overall structure, I was kind of stuck with what was happening in the image, so I guess I couldn\'t really do better in this area. I am usually a huge fan of well-structured pieces, and most non-movie stuff I do is much more formal.
About the bells that enter before the first peak, I wanted to express that someone is gonna die, and this is what the viewer discovers when the peak arrives.
In the first version, the first peak was much more orchestral, with big horns and trumpets sounds. But the producer thought it was too much Hollywoodish... and wanted something more intimate, yet really expressive and loud... So I stuck with strings.
Thanks for listening and for all your comments! [img]images/icons/smile.gif[/img]
If there was a kontakt version in native kontakt format of SAM Horns I would be buying that ASAP. As it is, I donīt have much interest in dealing with tedious reprogramming...but the sound is definitely there.
But, I didnīt know there were sam trumpets and sam timpani [img]images/icons/confused.gif[/img] I canīt find any info on the official sites...
wow, thatīs so good I can hardly believe it. If that/those guy/s is/are around I want to thank him/them for this wonderful initiative.
Do you know if those .gig files have many layers? I would like to know if I will have to reprogram much stuff or it will be pretty straightforward.
Also the main prob I have when Iīm supposed to make my own patches for kontakt with giga imported programs is that...I simply donīt know how the instruments are programmed for giga, so I donīt know where/how to start replicating! Sometimes you can get that info reading something (booklet, listing or whatever), and other times you can get it from the sounds themselves, but many times itīs hard to know what youīre expected to do with them as I have no Gigastudio to open them in, and the gigafixer utility for kontakt rolling around just makes a single big layer of samples... [img]images/icons/frown.gif[/img]
ok, if this topic gets bigger I will open a new thread. I donīt want to go any more off-topic with Martinīs thread.
Hi Martin, if you dontīmind this not-yet-a-pro-and-maybe-never-but-who-knows checking it as well, Iīll have a go at it.
The sound was pretty realistic. Iīm sure some of the big heads here will find terrible mastering and EQīíng heresies which you undoubtly should pay with your life [img]graemlins/tounge_images/icons/smile.gif[/img] but for me itīs reaches the point where I know that if I was watching a movie I wouldnīt even wonder about its realism because I would totally buy itīs a real orchestra recording. Obviously when youīre hearing these demos at this place itīs hard to comment on that issue becasue in the first place, we all know weīre hearing sampled stuff. I think we also all accept that uninitiated people are simply buying this stuff as real. Itīs a fact. [img]images/icons/cool.gif[/img]
So sound-wise Iīm willing to leave it at the more-than-enough range if you donīt mind. Still, I will comment that the overall sound of the tracks could be marginally better and I blame for it to the mp3 compression or your final EQing or something similar. The recording sounds a bit \"too far\" to my ears. Nothing too bad though.
NOW composition-wise, of the two pieces I clearly enjoyed more the Intermezzo. It was VERY interesting. That initial layer of sound which you create with uh...some sort of very treble piano and/or xylophone or similar percussive instrument and the strings at the back. That thing really grows on you as you hear it. I also noticed the name of the track and with my terrible spanish french I could tell it was something along the lines of \"The thieves of water\"? If you tried to be descriptive (one never knows) I give you an A+ and a pat on the back for it, because that layer of sound really brought drips of water to my mind.
The strong low strings give a nice contrast to the track. It was a bit lacking on overall structure, but I bet it wasnīt needed because it was forced by the scene you were scoring. I must have heard this track like 10 times already.
The \"mort\" I also liked but it wasnt quite as much innovative to my ears (hey, you canīt always win..heh,heh). Near the end of the first minute I hear what could be an interesting doublebass line, but itīs not as exciting as it could have been because itīs just throws a short line. I understand it was pretty \"dangerous\" because if it wasnīt well done it could have messed up the whole harmony there. The crescendo and bells before and up to minute two have a lot of emotion, thought personally I would have entered the bells a bit later (at 1:40) to make them really effective when they entered, specially when you keep on using them after the pause. Just a personal opinion here.
My only real disagreement with what you did with your orchestration is that the strings are a tad too \"correct\" on their use. Never heard \"No risk no win\"? [img]images/icons/grin.gif[/img] But overall I have to congratulate you for a very nice job. I like it a lot.
I hope you donīt think I went too far with my review. In such a case I apppologize in advance. I just think itīs a shame some of our musical works sometimes receive a final approval from someone who pays no attention to its subtleties and nuances and this should be the place to bring them on.
I have a reaaaaaaaaaaly slow connection and I have finally managed to download Intermezzo.mp3 [img]images/icons/smile.gif[/img]
I like the general mood it creates, and I can see why your producer would be happy with it: it will serve as good bedding for some dark on-screen set of events. If there is dialogue over it, then I think it is great as is. The title intermezzo, though, sugests to me that it may be there to accompany transitional footage... maybe the watter-robbers (voleurs d\'eau) are preparing their grand theft plan? So if there is no dialogue that a clear melody would tread on, why not perhaps try to have a more distinct theme permeating the piece? What I\'m trying to say is that I always like to come away from a particular scene with a memorable melody. A transition in starwars to the death-star couldn\'t conjure such impactful dread if it weren\'t accompanied by the imperial march.
I\'m no pro, so take this as a critique from a \"listener\" status guy, not a composer status guy. If you would like a refference as to what my music is like (so you can take this post for what it\'s worth) I also posted a composition recently in a thread called \"my 2nd composition\".
Sharmy, you might be right about the density of the middle range of the strings. That was an effect I wanted to create, but maybe the effect is not that successfull... [img]images/icons/wink.gif[/img]
And Leon, to answer your question, there is no dialog while the intermezzo is playing, but there is a lot of background noise (people moving, etc). As the title says, this piece is just a small transition between two scenes. I thought the dark cello melody was \"memorable\" enough for this scene, but the main focus really was to give a dark mood to what is happenning on the screen.
Thanks for listening and for your comments guys! I really appreciate.
I tend to not like when there is too much melody --- and or music \"all the time\". A good example of this complete over kill is in \"Far From Heaven\" (just got a copy of it last week). The music in this film is so over the top that it gets in the way of the \"story\"... I mean who\'s telling the story here, the director or the composer?
I like to hear a film breath. Thank you Thomas Newman!!! [img]images/icons/grin.gif[/img]
Martin, I don\'t mean to start shtick in you thread, just wanted to give an example of \'too much\'.