# Orchestral action cue - "The Escape"



## Alex Temple (Jan 20, 2012)

Hey everyone,

Here's a cue I finished a little while ago that I'd been tinkering with for some time. Don't let the slow introduction fool you - this is a relentlessly frantic, bombastic action cue. I'll be the first to say that there are a few parts where I was very specifically going after a feel similar to "The Asteroid Field" from the Empire Strikes Back. I started this as a way of calibrating a new template and just got carried away from there. 

Thanks for listening!

New version: http://www.alexandertemple.com/_music/org_sm_the_escape.mp3

Score: http://www.alexandertemple.com/uploads/at_the_escape_full_score.pdf


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## bennyoschmann (Jan 20, 2012)

Awesome track, Alex! Great theme, wonderful orchestration and an outstandig production.

Congrats and thanks for sharing!


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## Tanuj Tiku (Jan 20, 2012)

Really great stuff, Alex!

Excellent composition, orchestration and a nice sound over all. Thank you for sharing, very enjoyable!

Tanuj.


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## Danny_Owen (Jan 20, 2012)

Agreed with the above - great work! Your writing always makes me want to hang up my gloves, it's just brilliant stuff.

The mix is generally pretty spot on -but since you're re-doing your template I'll throw this one out there- does anyone else find the low end to be a little boxy/boomy? May just be my monitor setup but to my ears somewhere between 150-500hz there seems to be a bit a little excess buildup- in fact I downloaded the track and did a little -1.2 dB dip at 265hz and to my ears that pretty much solves it for me.

As I say it may just be my monitors and my ears, but I'd be curious to hear if anyone else found the same. 

That's really just knit-picking- it is astounding work.


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## Alex Temple (Jan 20, 2012)

Thanks guys.

Danny, thanks for pointing that out about the mix. An earlier version I did was too light on the low end and I overcompensated a bit with a crude EQ boost on the final mix. I've uploaded a new version that gets rid of that, but it still might not do it. I appreciate anyone's comments on the mix though - I go back and forth between mixing in headphones and on good speakers (but not professional monitors). Auditioning it on car/laptop/iphone speakers only shows so much! :D


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## michaelv (Jan 20, 2012)

Consummate in every department, Alex. Your work is heads and shoulders above most of the music I hear on this forum. It's in an elite group. 

There' a harmonic progression, which makes an appearance at around 3.33, which reminds me of Elliot Goldenthal's ( whatever happened to him? ) Batman score. Not a bad thing at all!

Excellent work: scarily mature, and cohesive.


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## rpaillot (Jan 20, 2012)

This is outstanding alex. Sounds like a John Williams score ! 
How much time do you need to write a track like this ? 

I especially like the brass, you achieved a big and large sound, but without too much reverb. A sort of studio sound I hear a lot in golden age film score.

Indeed very impressive, compositionally and sonically.
Would love to read the score. But I would understand if you want to keep your writing secret, it's a jewel


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## JohnG (Jan 20, 2012)

Sounds just great Alex. Congratulations.


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## handz (Jan 20, 2012)

Super Alex - as always - love the melodies etc - it have slight Williams feel but still not too much to sound like "williams inspired piece" , clean classic movie piece - A class.


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## Alex Temple (Jan 21, 2012)

Everyone, thanks for listening. 

michael: I haven't heard that score, but I'll have to check it out. That part of the piece was definitely the "crash and burn" part of this imagined chase scene so I wanted a progression there that had a frightening, unfamiliar quality. And of course giving it to the brass with nothing but fff whole notes hammers the point home too.  

rpaillot: that's exactly the sound I was going for - the studio orchestra sound. I'm glad that's what you heard. This piece took a long time to do; it was something worked on intermittently for a while so I couldn't tell you exactly how long. Right now I only have sections of it in proper score format; some parts I did straight into Sonar. If I do finish the score I'll post it.


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## Ian Dorsch (Jan 21, 2012)

Really nice work, Alex.


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## re-peat (Jan 21, 2012)

A masterclass, Alex. Very well done.

_


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## hbuus (Jan 21, 2012)

It sounds truly awesome.
After listening multiple times with headphones there is one little thing that consistently annoys me though:
Around 1:00 and forward there is a section where it sounds like there is delay added to a soft violin sound.
Do you know what I am referring to?
It makes it sounds very keyboardish to me.
Apart from that, like I said, incredible sounding piece.
You make brass shine!

Best,
Henrik


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## dcoscina (Jan 21, 2012)

Nice job Alex. Great music. Lots of variety tonally and orchestrally. Did you use Hollywood Brass or CineBrass for this piece? Really nice brass writing. Love the pointallism in the winds in the slow section.


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## Guy Bacos (Jan 21, 2012)

I must return the compliment Alex, this is one of the best work I've heard from you.  You never cease to improve, it's really great to see this. With this kind of production I hope you're doing some scoring.


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## Andrew Christie (Jan 21, 2012)

Stop showing us other 24 year olds up Alex!

Classy stuff as always mate :wink:

EDIT: Stop showing most of us up


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## mverta (Jan 21, 2012)

You give me hope, Alex.

_Mike


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## sherief83 (Jan 22, 2012)

Very Nice Alex as always, it has that lovely 90s feel to it and even though you said john Williams, I felt a bit Goldsmith there. 

I would certainly love a version with a bit more Reverb. Mostly the strings that needs them the most to cover up for some attack and fast legato playing issues.

a brilliant composition and like some said. we hope your already scoring films!


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## ryanstrong (Jan 23, 2012)

Love this! I like the "smaller" room sound, I feel the instruments versus something that is drenched. Do you mind sharing what VI's you used in this cue?


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## noiseboyuk (Jan 24, 2012)

More praise, more praise - exceptional stuff. I love action cues like this, definitely what I aspire to in that genre (and am some considerable way off achieving). You deserve to go VERY far.

Since no-one else has asked - what libraries? Like rpaillot says, the brass is particularly fabulous.


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## impressions (Jan 24, 2012)

this is just top notch stuff, i sincerely hope you have an agent to promote your skills.


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## Mahlon (Jan 24, 2012)

Another vote for excellent!

Mahlon


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## Alex Temple (Jan 24, 2012)

Thanks for the enthusiastic response everyone! To answer more specific questions/concerns:

Henrik: I'm not sure what delay you're talking about about the violins. There is a lot of layering - 1st+2nd violins and violas are all unison, often with two or three patches at a time, so some of the patches might have slower attacks than others. It's probably one of those things that I've gotten used to hearing and that's why I'm not picking it up.

David: I used both - sometimes layered together, other times splitting up phrases. Horns and tuba use a mostly HB; trombones and trumpets are more of a mix. There is also a touch of The Trumpet and the Project SAM solo trombone.

Sherief: I'll put up an alternate version with a bit more reverb. You're right about the fast legato issues - usually 'legato' patches don't cut it for that so I have to layer in marcato and staccato for the quicker notes, which is better overall but sounds less fluid.

About the libraries used: winds are HWW+VSL, brass is HB+CB+The Trumpet+SAM, percussion is almost exclusively Spitfire, and the strings are mostly HS except on the lusher part 3/4 of the way through where I also add in some VSL solo strings.


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## germancomponist (Jan 24, 2012)

WOW! I am very impressed!

Alex, in my head I can listen to it, played by a real orchestra. Man, it would be worth it!


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## IvanP (Jan 24, 2012)

WoW work, as always, Alex...

Can't wait to listen to your concert piece...what happened with it, btw? 

Really, outstanding chops...Top notch :mrgreen: 

Ivan


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## PasiP (Jan 24, 2012)

Stunning work Alex! Just....wow!


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## Casey Edwards (Jan 24, 2012)

Fantastic work Alex! The build up at the beginning didn't really work for me the first time, but for some reason every other time I've loved it. Really "Grade A" work here.

Also, a quick question. I've been considering Spitfire percussion to replace my True Strike 1 and was wondering what your thoughts are on that since you said "almost" exclusively used. That room information in Spitfire's percussion samples just sounds to die for in the Tree and Ambient mics.


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## Alex Temple (Jan 24, 2012)

Thanks Ivan; for the time being this is as close to a real orchestra as I'm getting, the concert commission turned out to be a disaster with communications failures on both sides. Ironically I probably learned more from the experience than I would have if everything had gone well.  

Casey, by "almost" I meant everything except the piano, which Spitfire doesn't have. I don't have True Strike outside of the demo patches they released a long time ago, but I can tell you that Spitfire is just great. I think this mix uses mostly the tree mics with touches of ambient and close mics only on certain instruments. I did the percussion stems more than a month ago so I don't remember exactly.

Interesting that you brought up the intro - I am preparing an alternate "demo-reel-friendly" version that cuts it out so that I don't lose busy/impatient listeners within the first 30 seconds before it takes off.


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## Casey Edwards (Jan 24, 2012)

Alex Temple @ Wed Jan 25 said:


> Interesting that you brought up the intro - I am preparing an alternate "demo-reel-friendly" version that cuts it out so that I don't lose busy/impatient listeners within the first 30 seconds before it takes off.



Just for the sake of sharing, my feeling was the exact opposite. For some reason I felt the build up being able to continue for several more measures. But of course, like you said, not everyone has Mahler-like patience!


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## synergy543 (Jan 24, 2012)

Brilliant composition and execution! 

Please allow yourself to get carried aways more often.


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## impressions (Jan 24, 2012)

Alex Temple @ Tue Jan 24 said:


> - I am preparing an alternate "demo-reel-friendly" version that cuts it out so that I don't lose busy/impatient listeners within the first 30 seconds before it takes off.



demo reel friendly..added to my need to learn skills. 0oD


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## Vincent Oliver (Jan 30, 2012)

I am totally new to this aspect of music making (ex- professional violinist) I am very impressed with your score Mr Temple. Leave the intro in, it builds up the mood - not everyone wants to dive into the main course, the starter builds the appetite.

As this is my second visit and first post on this forum, can someone point me in the direction of finding out which hardware and software I need to get going on my first Symphony.

I own Presonus Studio One 2 producer, Garritan Personal Orchestra, two decent studio speakers (Yamaha) a Presonus sound card and that's it. Don't laugh too much, Beethoven only had a pen and paper.

Well dome Alex, a great work.


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## Patrick_Gill (Jan 30, 2012)

Superb Alex. Great orchestration!


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## rayinstirling (Jan 30, 2012)

Hey! I'm glad Patrick and Vincent brought this back up the list or I would have missed listening to this great cue.

You're the man Alex.

Best Regards

Ray


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## Guy Bacos (Jan 30, 2012)

We may possibly have the next John Williams here and don't know it yet.


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## Rob (Jan 31, 2012)

fantastic work here Alex! I like your sense of rhythm, everything always flows naturally...


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## leafInTheWind (Jan 31, 2012)

Fantastic soundscape! Thanks for sharing!


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## Alex Temple (Feb 2, 2012)

I've uploaded a new version which fixes the points that bothered me about the previous version. Now the intro doesn't follow such a metronomic beat during the slowest sections. I extended one of the climactic arrival points in the middle of the piece - before it was a part that felt like it was over before it began.

A couple of you asked for the score, which I've uploaded. Since it's not being played by a live orchestra I'm not going to actually figure out the harp glissandi or how many timpani players I'd need, but other than that I've done my best to make sure that everything is technically correct. Though extremely indulgent in unnecessary orchestral resources. 8) You can look at it http://www.alexandertemple.com/uploads/at_the_escape_full_score.pdf (here).


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## Ryan Scully (Feb 2, 2012)

Absolutely BRILLIANT Alex. Very generous of you to provide the score as well. Each piece of yours that we have the opportunity to listen to just illuminates what an incredible talent you possess..



Ryan


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## tumeninote (Feb 2, 2012)

This is awesome! Thank you for providing the score as well. Very kind of you.


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## Simon Ravn (Feb 7, 2012)

Awesome, Alex. I especially love the orchestration + sound of the brass, and your use of tuba is very Williams-ish - an instrument that is often forgotten Woodwinds also really nice, although I miss a bit of air in the flutes especially, but it could be the setup I am listening on right now. Great stuff and certainly one of the best "MIDI orchestras" I've heard.


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## Frederick Russ (Feb 7, 2012)

Really nice work Alex. Thanks so much for sharing.


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## fullbirdmusic (Feb 9, 2012)

Just wanted to say that I think this piece is amazing! Excellent sound and composition. I haven't listened on my studio boxes so I can't talk about balance or anything critical, but I don't want to. This is outstanding! Great job - making us all look bad 8)


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## Mike Marino (Feb 9, 2012)

Nailed it! Well Done!

- Mike


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## AndreP (Feb 9, 2012)

Very nicely done Alex. Great writing. Thanks for sharing the score as well, as its good to read along with and study. 

Quick question, how much of the piece was written away from the DAW as opposed to how much you wrote while at the DAW? I imagine something this involved required some before hand orchestration considerations that sitting at the DAW might not have invoked.


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## Alex Temple (Feb 9, 2012)

Thanks again everyone. To answer your question, Andre, it often works out like this: I'll compose the core melodies and some of the harmonic material in Sibelius or by hand. I do almost all orchestration and harmonic enrichment in my DAW, and the structure and pacing is split between the two. This piece was pretty awkward to compose because I started it in my DAW as just a little template test; when I wanted to expand it I didn't have enough melodic material to support the structure so I had to go back to the drawing board in Sibelius.


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