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    • CommentAuthoradam
    • CommentTimeJan 17th 2010
    Something I made recently

    http://www.mediafire.com/?mtrzmw5zzyj
    • CommentAuthormarkrayen
    • CommentTimeJan 17th 2010
    Sounds like a slightly sunnier version of Goldsmith's Alien to me. Good sound, you could definately use that in a portfolio.

    - Mark
    •  
      CommentAuthorAtham
    • CommentTimeJan 17th 2010
    That was very impressive Adam!
    Do you you have other pieces you could share with us?
    Keep up the good work!
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 17th 2010
    It's no Symphonette #2.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeJan 17th 2010
    Erik Woods wrote
    It's no Symphonette #2.

    -Erik-



    That's for sure. What is?
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeJan 18th 2010
    Thor wrote
    Erik Woods wrote
    It's no Symphonette #2.

    -Erik-



    That's for sure. What is?


    At a guess? Symphonette # 2?!
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthoradam
    • CommentTimeJan 18th 2010
    Thanks... there was no intention to sound like Alien, but now that you mention it I watched that movie last week so it probably influenced me. I'm a big fan of that soundtrack.

    I have a lot more music, Atham, and I'll post some in the future.
    •  
      CommentAuthorplindboe
    • CommentTimeJan 18th 2010
    Yes, very impressive. Sounds very James Hornery.

    Peter smile
    •  
      CommentAuthorThor
    • CommentTimeJan 18th 2010 edited
    plindboe wrote
    Yes, very impressive. Sounds very James Hornery.

    Peter smile


    James Horny?
    I am extremely serious.
    • CommentAuthoradam
    • CommentTimeJan 20th 2010
    http://www.mediafire.com/?zk41wgnmgmz

    This one's more Steve Reichy
    • CommentAuthormarkrayen
    • CommentTimeJan 20th 2010
    I loved your sense of spacing in the string voicings towards the end, reminds me of Thomas Newman a little. Your use of the syncopated 3+3+2 metric division, combined with the hairpin dynamics in two and two bars, is very succesfull. It is perhaps unoriginal and stereotyped, but thats what most filmmakers want and it works. Bottom line, you seem to have good instincts and talent, and I wish you luck with your music!

    A question, what kind of software do you use?

    - Mark
    •  
      CommentAuthorLSH
    • CommentTimeJan 20th 2010 edited
    markrayen wrote
    Your use of the syncopated 3+3+2 metric division, combined with the hairpin dynamics in two and two bars, is very succesfull.


    That's my favourite bit too!
    •  
      CommentAuthorDemetris
    • CommentTimeJan 20th 2010
    markrayen wrote

    A question, what kind of software do you use?

    - Mark


    As in which libraries / vst instruments, i suppose?
    Love Maintitles. It's full of Wanders.
    • CommentAuthoradam
    • CommentTimeJan 20th 2010
    Thanks, the words of encouragement mean a lot. I'm at that insecure stage of my career where it's not really a career and I'm thinking maybe I shouldn't do this.

    As for software, it's all created in Logic with VSL special edition bundle -- nothing else.
    •  
      CommentAuthorDemetris
    • CommentTimeJan 20th 2010 edited
    Ah, so it's VSL behind this, eh? wink I figured it would either be that, or Symphobia wink Are you using vsl's player for the playing / performance edits as you play the music or are you editing otherwise, like after recording the midi signals or through kontakt player?

    Cheers
    Love Maintitles. It's full of Wanders.
    • CommentAuthoradam
    • CommentTimeJan 20th 2010
    I think of what I want to hear, program the notes one at a time with mouse clicks (in other words notate the score), then program the instruments' "performances." It's quite time consuming...
    •  
      CommentAuthorDemetris
    • CommentTimeJan 20th 2010
    Yeah, you do that through vsl's player or kontakt?
    Love Maintitles. It's full of Wanders.
    • CommentAuthoradam
    • CommentTimeJan 20th 2010
    I use the Vienna Instruments AU plugin... one per instrument.
    •  
      CommentAuthorDemetris
    • CommentTimeJan 20th 2010
    Thanks for the info Adam, keep it up.
    Love Maintitles. It's full of Wanders.
    • CommentAuthormarkrayen
    • CommentTimeJan 20th 2010
    Thanks for the info Adam!
  1. Very nice. Don't question whether you "should" or not, just try. Short films, documentary, film festivals. You'll get the work.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    • CommentAuthoradam
    • CommentTimeJan 27th 2010
    Yeah, I'm keeping it up. It's fun, so it's hard not to! One that's fast instead of slow:

    http://www.mediafire.com/?nz3dt2j4wbn
    • CommentAuthoradam
    • CommentTimeJan 27th 2010
    Another:

    http://www.mediafire.com/?ylh1zmnmzog

    I welcome comments, even if negative.

    markrayen, now that I know you're a composer... care to share?
    • CommentAuthormarkrayen
    • CommentTimeJan 29th 2010
    Adam, I really think you have something you could develop here. I don't know anything about you and what background you have, but based on what I have heard I would certainly think it is possible for someone of your stature to perform (eventually) at an adequate and professional level. But that said, you aren't there yet.

    I realize that these pieces are likely mere demos, and not fully developed works. Nevertheless if I am to give feedback, I must work with what I have. Had you uploaded the notated scores, I would have been able to be more specific.

    There are some major problems with your pieces. These have to do with the form, length, character, orchestration (in part), and in an artistic sense - completion of the music.

    The form is either too straightforward, or lacking altogether. The narrative seems coincidental, or circumstantial. In your defense, however, one could argue that hardly any film composers were ever much successful with form (Bernard Herrmann may have been the exception).

    The pieces are too short in relation to fully developing your ideas. The thematic material is percieved as fragments of something that "could have been". In other words, you aren't ambitious enough with your material. That is something that takes a long time for many composers to develop.

    The characters of your music vary, which is good. However, they sound cheaply achieved. You are merely choosing a character without the intent of any artistic justification. Everything you have to say seems to pour out of you at once, without any sense of timing or intention to elaborate/develop.

    The orchestration has issues, though I do feel it sounds quite good overall. It would help me if I could see a notated score, but there are ways you could much better exploit the colours and dramaturgical potentials of an orchestra. One place to start might be Leonard Bernstein's suite from "On the Waterfront", and the section "Allegro molto agitato" starting at measure 114. The musical material is very similar to your "fast piece", and magnificently orchestrated by the maestro!

    Everything I have to say is my personal opinion of course, remember that! But criticism does us all some good. I hope my comments were helpful! - Mark smile
    • CommentAuthoradam
    • CommentTimeJan 29th 2010
    markrayen wrote
    Adam, I really think you have something you could develop here. I don't know anything about you and what background you have, but based on what I have heard I would certainly think it is possible for someone of your stature to perform (eventually) at an adequate and professional level. But that said, you aren't there yet.

    I realize that these pieces are likely mere demos, and not fully developed works. Nevertheless if I am to give feedback, I must work with what I have. Had you uploaded the notated scores, I would have been able to be more specific.

    There are some major problems with your pieces. These have to do with the form, length, character, orchestration (in part), and in an artistic sense - completion of the music.

    The form is either too straightforward, or lacking altogether. The narrative seems coincidental, or circumstantial. In your defense, however, one could argue that hardly any film composers were ever much successful with form (Bernard Herrmann may have been the exception).

    The pieces are too short in relation to fully developing your ideas. The thematic material is percieved as fragments of something that "could have been". In other words, you aren't ambitious enough with your material. That is something that takes a long time for many composers to develop.

    The characters of your music vary, which is good. However, they sound cheaply achieved. You are merely choosing a character without the intent of any artistic justification. Everything you have to say seems to pour out of you at once, without any sense of timing or intention to elaborate/develop.

    The orchestration has issues, though I do feel it sounds quite good overall. It would help me if I could see a notated score, but there are ways you could much better exploit the colours and dramaturgical potentials of an orchestra. One place to start might be Leonard Bernstein's suite from "On the Waterfront", and the section "Allegro molto agitato" starting at measure 114. The musical material is very similar to your "fast piece", and magnificently orchestrated by the maestro!

    Everything I have to say is my personal opinion of course, remember that! But criticism does us all some good. I hope my comments were helpful! - Mark smile


    I meant that you should share your music, but your opinion is good too! Thank you for the well-considered criticism.

    I agree with your comments — I have the same criticisms of my own music. The excuse I give myself is that I'm not composing these to any kind of visual guide. I find that when I do, it gives me the dynamics, narrative, and tone. On the other hand, what I'm doing with these demos is joyfully reaching my hand into a jar of "orchestra paint" and throwing it at a canvas. I never get to use these sounds on movies (except for once), and it's fun. But you perceived the careless nature. And you're right to say that I have a lot to learn. This january marks one year that I've been working with orchestral instruments, and each month brings new revelations. I'm hanging around this forum to get ideas for soundtracks to listen to and study. Perhaps the next scoring assignment I get will allow me to use the orchestral palette and then I'll find out what I'm really made of...

    By the way, if chatting with aspiring composers and looking at scores is a hobby of yours, we could take this to private messages...
    • CommentAuthormarkrayen
    • CommentTimeJan 29th 2010
    • CommentAuthoradam
    • CommentTimeFeb 28th 2010
    Here's one that's actually from a movie: http://www.mediafire.com/?whdunwmwy1g

    A comedic period piece.
    • CommentAuthoradam
    • CommentTimeMar 14th 2010
    Throwing another mp3 into the void
    http://www.mediafire.com/?wmnkma5r0dm