# How not to start your demo-reel



## Frank Luchs (Nov 14, 2010)

Wondering, if it is a bad idea to start your demo-reel with a soundscape
ommitting most tonal and rhythmic components:

http://soundcloud.com/spielkraft/gezank-der-juenglinge

What you think?


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## RiffWraith (Nov 14, 2010)

What is the demo reel for - what type of gigs do you seek, and who is this reel going to? Will this piece engage the listener, and pull them in? Will it wow the listener? Will they listen to the entire track, or is it too long and drawn out? Will they, after listening to this piece, want to hear more music, and keep listening to the rest of the reel?

Answer those questions honestly, and you have the answer to your initial inquiry.

Cheers.


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## Frank Luchs (Nov 14, 2010)

Think about a typical demo reel for game and film jobs.

Q: Will this piece engage the listener, and pull them in?
A: No, most people won't believe that this is music.
Q: Will it wow the listener? 
A: No, they will expect short sections of conventional music,
sortable as techno, rock or classical music.
Q: Will they listen to the entire track, or is it too long and drawn out?
They will eject this music after about 15 seconds.

So, this is just a warning:How to not start your demo reel.
Thank you for listening.


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## munician (Nov 14, 2010)

Years ago, when sampling still was young, I started my demo reel with a hip jazz guitar lick over self made vinyl crackling.
I got some of them back with a note saying "it's broken!"


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## Frank Luchs (Nov 14, 2010)

munician @ Mon Nov 15 said:


> Years ago, when sampling still was young, I started my demo reel with a hip jazz guitar lick over self made vinyl crackling.
> I got some of them back with a note saying "it's broken!"



As is the music above. 
So we have to say: No experiments, no creativity, please!
Just show, that you have the skills to copy any temp track.


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## Hannes_F (Nov 15, 2010)

If this is your style and trademark I would say stick with it and send it out as your demo reel. I think this style of music can have its use, for example for soundscapes, art events, sci-fi movies, intros for songs. If you are the specialist for your style and make sure people remember you in the moment they need that, then why not. In that case you need some branding (and an attitude as optimistic as possible, too).


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## Hannes_F (Nov 15, 2010)

Haha, I googled your name and it turns out you are well established as a film composer. So you are testing us here or what :mrgreen:


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## Frank Luchs (Nov 15, 2010)

Hannes_F @ Mon Nov 15 said:


> Haha, I googled your name and it turns out you are well established as a film composer. So you are testing us here or what :mrgreen:



Hannes,

thank you for your nice words. No testing here. 
Actually I'm really interested if anybody has some experience
with open minded music buyers. People not thinking in always the
same categories. 
Your answer shows the problem very well:

- Should a composer concentrate on his style and trademark
(the optimistic route)
- Or better sound solid and like expected, but exchangeable
(the standard route)

Kind regards,
Frank


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## germancomponist (Nov 15, 2010)

An interesting thread and ineresting questions, Frank.

So, I think there is a special reason because you were asking this, yes, no? What have you experienced? 

I think a composer should show that he has the skills to copy any temp track (for sure a must), but also should show his style and trademark. Why not?


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## Hannes_F (Nov 15, 2010)

Frank Luchs @ Mon Nov 15 said:


> Your answer shows the problem very well:
> 
> - Should a composer concentrate on his style and trademark
> (the optimistic route)
> ...



I think the way of authentic personal style and trademark music has its home where music itself is more in the focus: Rock music, parts of pop music, modern concert music, indie music bands, world music, crossover projects. Anything that can keep a live audience interested for an evening, therefore create bums in seats and therefore CD sales. If you can find a band or an interesting stage project that you write your style for that would be ideal.

That is not to say that film music could not be original but it seems that the ability to create in already known and established styles is possibly more a prerequisite there.

BTW that is a reason why I have no real interest in writing film music any more. I scored one film, but after that experience I decided while I have the highest respect for every film composer I am more the music for music's sake type (as a composer, not necessarily as a studio musician).


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## dannthr (Nov 15, 2010)

I feel like we are so saturated with so many composers trying to be main stream, main stream, that it's important to find a style that makes what you do unique.

It's a difficult balance though, for sure.


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## Mike Greene (Nov 15, 2010)

Personally, I think this could be a great open to a demo reel, at least in cases where you need to set yourself apart from the pack. Sure, most films would have no use for this, but for the films that do, you've just put yourself to the head of the pack. And even for the films that are more traditional, they still might be impressed that you are more creative than all the other reels.


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## lee (Nov 16, 2010)

I have no comment about this being a good or bad demo reel, but I REALLY like this music Frank. It has this ambient and calming vibe.. reminds me of FSOL with your audio collage and melodic/harmonic elements slowly evolving.

Nice! :D 

/Johnny


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## Frank Luchs (Nov 16, 2010)

lee @ Tue Nov 16 said:


> I have no comment about this being a good or bad demo reel, but I REALLY like this music Frank. It has this ambient and calming vibe.. reminds me of FSOL with your audio collage and melodic/harmonic elements slowly evolving.
> Nice! :D
> /Johnny



Johnny, thank you for the compliments, FSOL, what means that?
Future Sound Of Luchs? 

@all
So it looks as if there is hope for music aside from the mainstream, at least in this community.
I will do some more compositions in the presented style, as Hannes said:
Music for music's sake.
While I have the ability to write for known and established styles, i don't want to suppress my inner voice too much.

My goal for 2011 is to find the right balance between the raw 'Ausgeburt'
and the more mechanical craft on the other side.

I'm further interested in more answers, how you handle this demanding task.


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## José Herring (Nov 16, 2010)

Frank Luchs @ Tue Nov 16 said:


> lee @ Tue Nov 16 said:
> 
> 
> > I have no comment about this being a good or bad demo reel, but I REALLY like this music Frank. It has this ambient and calming vibe.. reminds me of FSOL with your audio collage and melodic/harmonic elements slowly evolving.
> ...



Ummmm don't think that the piece isn't mainstream. Aside from that Berlin school 8bit synth sound that creeps up here and there it's actually really quite appropriate for today's film scores. (As for the 8bit arp sound, I'd try to find a way to set it back just a tiny bit in the mix)

If it were me I'd probably not start with this piece I'd put it like number 3 or 4 to show "range". And, I wouldn't let it go on for more than 1 minute. But, I think that it's totally relevant for action, thriller, horror type movies.


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## Markus S (Nov 26, 2010)

Is this question based on some negative feedback on this approach of a demo reel?

I think it has been said already, but it really depends on the context. Given the right project/client there is no reason this track shouldn't be on the beginning of a demo reel, as there is some nice creative sound design here. It may be a bit long, maybe pull it down to 1-2 minutes as some of the ideas are exposed more than once. I especially liked the combination of acoustic (orchestra) and electronic elements, going one into another.

Didn't like the retro synth in the middle, it really sticks out, and pull the overall quality down. but that may be just me.

Anyway, I'd be curious to learn why you wrote "how to NOT start".


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