# Tintin cue



## fido94 (Jan 23, 2010)

Hello Leon,

Well, Guess what! Tintin is one of my all-time favorites! hence my little icon! hehe

I really like the music. I can definitely imagine the scene. Great job. I'm sorry to hear it wasn't chosen.

I look forward to seeing the score.


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## Richard Wilkinson (Jan 23, 2010)

Really nice work - would you be able to shed some light on the libraries used - and the processing? The reverb on this sounds great.

It'd be interesting to see who/what the game's producers went for in the end, if they passed on this pitch...


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## Guy Bacos (Jan 23, 2010)

Great sound and mix. I love Tintin! Read them all.


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## johncarter (Jan 23, 2010)

wilx @ Sat Jan 23 said:


> Really nice work - would you be able to shed some light on the libraries used - and the processing? The reverb on this sounds great.
> 
> It'd be interesting to see who/what the game's producers went for in the end, if they passed on this pitch...



Considering ubisoft is the game producer. They probably went for a more "modern music" and sad to say probably a less "sophisticated" music. 

I love what Leon did , great writing and mix ( especially those trumpets, even if i would have added a little bit more reverb on them ) 
Very williamsian


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## theheresy (Jan 23, 2010)

Leon Willett @ Sat Jan 23 said:


> Hey! I've been demoing for games recently and this passed week I pitched for a Tintin game being made in france. I didn't get the job and felt a bit gutted yesterday, because I really love Tintin and it would have been a fun gig, but oh well -- check out the cue :wink: It has a ridiculous camp adventure theme and everything hehe
> 
> http://www.leonwillett.com/Music/TheAdv ... Tintin.mp3
> 
> I'll get some scans of the short-score up on my blog in a couple of days too



holy sh#$ that was an incredible mockup. They turned that down? WTF? Let me guess they chose someone who does a few drum loops with stylus rmx and spams symphobia power chords over it what a shame...

yes please tell which libs and reverb/reverb settings you used.


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## Marius Masalar (Jan 23, 2010)

Really impressive, Leon, your work is always an inspiration. The mix is especially wonderful, and the mock-up itself is wonderfully realistic. I'd be interested in knowing what libraries you used as well and how you got the sonic space to sound so clear and convincing.

Musically, this reminded me of the good 'ol days of Alan Silvestri while he was still writing things like The Mummy Returns. Wonderful work either way, thank you for sharing!


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## theheresy (Jan 23, 2010)

Mathazzar @ Sat Jan 23 said:


> Really impressive, Leon, your work is always an inspiration. The mix is especially wonderful, and the mock-up itself is wonderfully realistic. I'd be interested in knowing what libraries you used as well and how you got the sonic space to sound so clear and convincing.
> 
> Musically, this reminded me of the good 'ol days of Alan Silvestri while he was still writing things like The Mummy Returns. Wonderful work either way, thank you for sharing!



I find it strange you want to know about his sonic space considering from waht I heard of your mockups they have some of the best 'sonic space' utilizations I've ever heard in terms of reverb use and setup >8o I wish I knew as much as you guys..so do tell!!!


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## Marius Masalar (Jan 23, 2010)

Well thank you, theheresy, that's always nice to hear!  Nevertheless, one never stops learning, and I'm sure Leon's got plenty of tricks up his sleeve that I could learn from.

Mind you, one of them might be called "a Production Assisstant", but....

Seriously though, it's always nice to know how such wonderful mock-ups come into being from a technical standpoint as well as a musical one. I bet the space would sound even better in a less compressed audio format, since 192kbps MP3 tends to squash things a bit much for my tastes.


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## stevenson-again (Jan 24, 2010)

i love it! fantastic music and fantastic mock-up. the clarinet bit which was brilliant brilliant writing felt a bit too forward and dynamic to me. it's superb writing though - how this didn't nail the gig for you i really don't know. it shows tremendous chops....clearly you aren't sleeping with the right producers...

i agree with others - it is really is a top notch mock-up, but it is also extremely well written.


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## synthetic (Jan 24, 2010)

Great stuff, very nice writing and mockup. I hope you'll have time to start up your great blog again.


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## chrisr (Jan 24, 2010)

Leon,

It's a fantastic mockup, congratulations! I'm really surprised they didn't go for it - sound's just right to me.
I can't help but notice the similarities to Andy Price's theme for Robin Hood (BBC TV) which you can hear on his website or arranger David Butterworth's - but that theme/suite itself is I think an homage to Steiner, Korngold... so there's sod-all reason that you shouldn't do the same  I only wish my mock-up skills were as good!

Chris


Edit: just read your bio and see that you are ex-Salford, as am I and the aforementioned Dave Butterworth (both '97). Small world...


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## Nathan Allen Pinard (Jan 24, 2010)

Honestly I've always wondered my music in video games is always a bit lacking in orchestration and composing in general.

Leon's piece is a good example of what IS good for games imo. There are a few good composers out there, but not much have impressed me. Mainly just Leon Williet **HAHA, I just realized that was you!** (Dreamfall) and Knut Hagen (Age of Conan) however being part of game scoring, it's more difficult than it seems sometimes.

It's a great mix, and overall good theme. My only crit is that your panning is a bit too wide. The strings in the beginning are almost hard left, as well as some are hard right later in the piece.

EDIT: Fyi leon, the best part of interactive video game music imo you were a part of. The simple 4 note theme that ended up being the puzzle in Dreamfall, which happened to be hummed by the monsters, and then implemented in the score when the puzzle was solved.

That was brilliant.


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## Ned Bouhalassa (Jan 25, 2010)

Fantastic job, really convincing. Great sound, orchestration, space, dynamics. The only thing for me is that it sounds quite old-fashioned (don't kill me, folks!).


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## ChrisAxia (Jan 25, 2010)

Very impressive Leon! Sorry you didn't get the gig, but I'm sure you'll get to use it somewhere else.

~Chris


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## Leon Willett (Jan 25, 2010)

Hi! Thank you for listening. I'm going to try to reply to everything! 

The libraries I used were: VSL Woodwinds, custom brass, SAM percussion, custom strings, and cinematic strings (for the tremolo notes). 

For reverb, I use the method SvK invented (with the toddAO impulses from altiverb). He explained how to use that reverb method in these threads: 

http://vi-control.net/forum/viewtopic.php?t=9139
http://vi-control.net/forum/viewtopic.php?t=9122

I use SvK's method exactly as he suggests, with no eq on the reverb or anything, it's pretty simple. Then I add an algorithmic reverb to the master bus, like a lexicon, but only a tiny bit. 

About not getting the gig, they ò…è   Á}M…è   Á}N…è   Á}O…è   Á}P…è   Á}Q…è   Á}R…è   Á}S…è   Á}T…è   Á}U…è   Á}V…è   Á}W…è   Á}X…è   Á}Y…è   Á}Z…è   Á}[…è   Á}\…è   Á}]…è   Á}^…è   Á}_…è   Á}`…è   Á}a…è   Á}b…è   Á}c…è   Á}d…è   Á}e…è   Á}f…è   Á}g…è   Á}h…è   Á}i…è   Á}j…è   Á}k…è   Á}l…è   Á}m…è   Á}n…è   Á}o…è   Á}p…è   Á}q…è   Á}r…è   Á}s…è   Á}t…è   Á}u…è   Á}v…è   Á}w…è   Á}x…è   Á}y…è   Á}z…è   Á}{…è   Á}|…è   Á}}…è   Á}~…è   Á}…è   Á}€…è   Á}…è   Á}‚…è   Á}ƒ…è   Á}„…è   Á}……è   Á}†…è   Á}‡…è   Á}ˆ…è   Á}‰…è   Á}Š…è   Á}‹…è   Á}Œ…è   Á}…è   Á}Ž…è   Á}…è   Á}…è   Á}‘…é   Á}¸…é   Á}¹…é   Á}º…é   Á}»…é   Á}¼…é   Á}½…é   Á}¾…é   Á}¿…é   Á}À…é   Á}Á…é   Á}Â…é   Á}Ã…é   Á}Ä…é   Á}Å…é   Á}Æ…é   Á}Ç…é   Á}È…é   Á}É…é   Á}Ê…é   Á}Ë…é   Á}Ì…é   Á}Í…é   Á}Î…é   Á}Ï…é   Á}Ð…é   Á}Ñ…é   Á}Ò…é   Á}Ó…é   Á}Ô…é   Á}Õ…é   Á}Ö…é   Á}×…é   Á}Ø…é   Á}Ù…é   Á}Ú…é   Á}Û…é   Á}Ü…é   Á}Ý…é   Á}Þ…é   Á}ß…é   Á}à…é   Á}á…é   Á}â              ò…é   Á}ä…é   Á}å…é   Á}æ…é   Á}ç…é   Á}è…é   Á}é…é   Á}ê…é   Á}ë…é   Á}ì…é   Á}í…é   Á}î…é   Á}ï…é   Á}ð…é   Á}ñ…é   Á}ò…é   Á}ó…é   Á}ô…é   Á}õ…é   Á}ö…é   Á}÷…é   Á}ø…é   Á}ù…é   Á}ú…é   Á}û…é   Á}ü…é   Á}ý…é   Á}þ…é   Á}ÿ…é   Á~ …é   Á~…é   Á~…é   Á~…é   Á~…é   Á~…é   Á~…é   Á~…é   Á~…é   Á~	…é   Á~
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## tfishbein82 (Jan 26, 2010)

This is really good. After listening, I visited your site, listened to some more of your music, and read your blog.

You're immensely talented and I'm looking forward to hearing much more wonderful music from you in the future.


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## George Caplan (Jan 26, 2010)

This music would have been better than the game. I hate games and know nothing about games or samples but this is good.


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## Pietro (Jan 26, 2010)

Fantastic piece, Leon!

The sound is very interesting. I like the "clear" mix in your orchestral music. You know, the opposite of Hans Zimmer's fat and intrusive sound.

Gives you the sonical space for some far more interesting orchestration - which is obviously something that you know how to use well.

Nice one!
- Piotr


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## Ian Dorsch (Jan 26, 2010)

Beautiful writing Leon, really enjoyed it.


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