# Planetary Ambush - Frenetic Orchestral Action



## jeremiahpena (Jan 16, 2017)

Here's my latest attempt at fast paced action music. Hope you enjoy, and feedback on the mix/writing is appreciated!



For those interested in the libraries used:

Strings: Cinematic Studio Strings and Symphonic Sphere (for the trills/runs).
Brass: Hollywood Brass (Trumpets, Horns, Tuba, Cimbasso), Strezov (Horns, Trombones), and Jasper Blunk's freebies (all brass).
Woodwinds: Spitfire Symphonic Woodwinds and Symphonic Sphere (trills).
Harp: Symphonic Sphere
Percussion: HZ01 and Hollywood Percussion.


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## E.Heart (Jan 16, 2017)

Really well done. Very "broad" orchestration with lots of things going on in it, but the piece does not get lost in them. The story line makes sense. Would work well as film music. Could you tell me something about your workflow and what DAW software you are using?


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## calebfaith (Jan 16, 2017)

jeremiahpena said:


> Here's my latest attempt at fast paced action music. Hope you enjoy, and feedback on the mix/writing is appreciated!
> 
> 
> 
> ...




Damn! That's effective  Nice composition


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## Dr.Quest (Jan 16, 2017)

Excellent!


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## Geocranium (Jan 16, 2017)

Are you just using the mics standard in Hollywood Brass Gold? Or are there other mics getting put to use?


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## patrick76 (Jan 16, 2017)

It sounds great. Really impressive work.


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## jeremiahpena (Jan 16, 2017)

E.Heart said:


> Could you tell me something about your workflow and what DAW software you are using?



I'm using Cubase 9. I have an individual Kontakt (or Play) instance for each separate library, all being sent to a single reverb. High EQ boost on CSS, and a midrange cut on HWB Trumpets for that cutting sound. As far as writing, I pretty much play in everything one instrument at a time. I don't really do sketches beforehand, but orchestrate and mix everything as I go.



Geocranium said:


> Are you just using the mics standard in Hollywood Brass Gold? Or are there other mics getting put to use?


Yeah, I only have Gold, so it's just the standard mics in that.


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## Jake (Jan 16, 2017)

WOW! Great job, love it


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## rlw (Jan 16, 2017)

Well Done! I will definitely come back to listen again but very impressive Orchestration and a Good Mix. Thanks for sharing


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## JasonTse (Jan 17, 2017)

Excellent writing!


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## Oouzha (Jan 17, 2017)

Fantastic. I typically don't click on posts that sound like they might be "epic" as I'm usually bored/disappointed but this hits it out of the park. It kept my interest the entire time. Sounds great! Very inspiring work. Now I need to check out your other music! -Peter


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## Oouzha (Jan 17, 2017)

Fantastic. I typically don't click on posts that sound like they might be "epic" as I'm usually bored/disappointed but this hits it out of the park. It kept my interest the entire time. Sounds great! Very inspiring work. Now I need to check out your other music! -Peter


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## byzantium (Jan 17, 2017)

Fabulous! Great composition, dynamics, mood, mix sitting together. Wow just goes to show what is possible with a couple of libraries. (Is that the measured term in CSS?). Can I ask what are you doing harmonically/scale-wise?, on a brief listen through, lots of minor to minor key changes/modulations? Interesting that even without significant sing-along melodies, and the fact that it is very complex in terms of notes-per-minute, it is still accessible and engages the listener and keeps one's interest the whole way through. Probably something to do with the rhythmic engine running all the time (while not sounding mechanical) and the piece changing at just the right times to inject new interest when it needs to. Super job.


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## Zhao Shen (Jan 17, 2017)

No comments on the piece, just wanted to say that frenetic is an absolutely fantastic descriptor.


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## artomatic (Jan 17, 2017)

So legit!!


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## Brendon Williams (Jan 17, 2017)

This is fantastic. Great work, as usual Jeremiah!

My only criticism at first listen is quite small:
-1:55 the alto flute would definitely not be audible at all here if it were a live orchestral piece. This is an excellent and quite lifelike mockup for the most part, but this is one of those few moments that take away from the realism.


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## jeremiahpena (Jan 17, 2017)

Brendon Williams said:


> My only criticism at first listen is quite small:
> -1:55 the alto flute would definitely not be audible at all here if it were a live orchestral piece. This is an excellent and quite lifelike mockup for the most part, but this is one of those few moments that take away from the realism.



That's intentional, I treated it like a soloist recorded separately. Definitely wouldn't work live though.



byzantium said:


> Fabulous! Great composition, dynamics, mood, mix sitting together. Wow just goes to show what is possible with a couple of libraries. (Is that the measured term in CSS?). Can I ask what are you doing harmonically/scale-wise?, on a brief listen through, lots of minor to minor key changes/modulations? Interesting that even without significant sing-along melodies, and the fact that it is very complex in terms of notes-per-minute, it is still accessible and engages the listener and keeps one's interest the whole way through. Probably something to do with the rhythmic engine running all the time (while not sounding mechanical) and the piece changing at just the right times to inject new interest when it needs to. Super job.



Yeah, lots of use of the CSS measured trems. I love minor to minor modulations, also augmented chords (like at 1:10). The main motif that recurs throughout is an open diminished Maj7 chord (Bb, A, E, Db in the opening for example), which works quite well with an octatonic scale (3:20 - brass outlining Ddim(Maj7) with octatonic string/wind runs into the final Dm chord). Although I have to admit a good deal of the time I just play stuff in and keep it if it sounds good.

The time signature also changes a lot, which was fun.


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## thesteelydane (Jan 17, 2017)

This is absolutely fabulous!


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## NoamL (Jan 17, 2017)

Needless to say this amazing Jeremiah. It could go right into a MG Trek score and I think most moviegoers would never know the difference! Your own personal voice also shines through & the themes are memorable. The brass writing especially is fantastic. I'm very curious how you balance/allocate Jasper's libraries, HWB and Strezov. Layering, or different libraries for different roles?

There were some moments that felt more like animation scoring than modern action scoring:

1:11-1:16 these runs
2:26-2:28 same here
2:42-2:45 & 2:53-2:56 this feels 2000s-Williams-y, not sure if it fits in the track

Totally nitpicking here though, it's just because you've established such a confident and specific style elsewhere in the track.

The ending is great!


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## byzantium (Jan 17, 2017)

Thanks for all the harmonic info Jeremiah. This piece sounds even more amazing on second and third listening. All sections sound fabulous (including 'old' HWB) and so clear and distinguishable despite the speed/freneticism. Think your EQing has both brought out and sat in the strings and brass nicely? I'm wondering how you get the different-degrees-of-wetness libraries to sit so well together.



jeremiahpena said:


> Yeah, lots of use of the CSS measured trems. I love minor to minor modulations, also augmented chords (like at 1:10). The main motif that recurs throughout is an open diminished Maj7 chord (Bb, A, E, Db in the opening for example), which works quite well with an octatonic scale (3:20 - brass outlining Ddim(Maj7) with octatonic string/wind runs into the final Dm chord). Although I have to admit a good deal of the time I just play stuff in and keep it if it sounds good.
> 
> The time signature also changes a lot, which was fun.


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## LamaRose (Jan 17, 2017)

Excellent, as usual. And you're correct... you never know how samples are going to play together, so if it sounds "good," it's all good!


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## desert (Jan 17, 2017)

jeremiahpena said:


> Here's my latest attempt at fast paced action music. Hope you enjoy, and feedback on the mix/writing is appreciated!
> 
> 
> 
> ...



Always love hearing your music!

btw - were the string runs the marcato patch?


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## jeremiahpena (Jan 17, 2017)

NoamL said:


> I'm very curious how you balance/allocate Jasper's libraries, HWB and Strezov. Layering, or different libraries for different roles?



Both. Trumpets are all HWB (love them) except for two instances. At 0:45, it's the JB vibrato trumpets, with HWB on the top line only for it to cut through more. Then, at 3:22 I layered in JB's Angry Brass trumpets for maximum impact. I particularly love the HWB 3 Trumpets Sustain patch for those huge moments at 1:35, 2:29, and the final chord. The trumpet EQ looks like this (it's also the only EQ on any of the brass):






Whenever there's a legato or sustained horn line, it's Strezov Horns. They have a nice liveliness (and tuning oddities) compared to HWB's bright but clinical sound. For staccatos, I originally tried just Strezov, but they didn't cut through, so I layered in HWB 2 horns. Marcato chords are usually HWB solo horn (1:35 and 2:05 for example). The exception is when they're doubling the trombones, where I used Strezov for the darker tone.

Trombone sustains and staccatos are all Strezov (I really dislike HWB's trombones), and marcatos are JB's Angry Brass. This is my first time using them and they sound godly (2:07 and 3:19). The fact that they are free is completely mind blowing.

Finally, Cimbasso and Tuba are HWB. I like them and have never wanted more.

I've probably gone into way more detail than anyone cares about, but hopefully at least some of it will be useful.



byzantium said:


> I'm wondering how you get the different-degrees-of-wetness libraries to sit so well together.


I think pretty much anything can sit together fine with some reverb glue and EQ if needed. I talked about my reverb process here, and this piece is the same. The only time I have trouble is when something was recorded completely dry.



desert said:


> btw - were the string runs the marcato patch?


I didn't use the CSS marcatos at all for string runs. The runs are Symphonic Sphere's Short Trill patches. I don't think they were made for runs, but they fake it extremely well. Violins at 1:10 and 1:33. Violas and Cellos use them for those wild ostinato runs at 2:20 and 3:18. And they're almost entirely exposed in the full string section at 2:26.

The trills in Spitfire Symphonic Woodwinds are also quite nice for faking runs. Best heard at 3:24.


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## jemu999 (Jan 17, 2017)

Sounds Excellent Jeremiah. Just heard it on my laptop, but looking forward to hearing this in the studio tomorrow. 



jeremiahpena said:


> I've probably gone into way more detail than anyone cares about, but hopefully at least some of it will be useful.


Thanks for sharing your workflow and details. I love hearing about these things from talented composers. Congrats on a great composition.


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## desert (Jan 17, 2017)

jeremiahpena said:


> I've probably gone into way more detail than anyone cares about, but hopefully at least some of it will be useful.



It was useful, thanks. Appreciate you spending the time to explain


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## Danial (Jan 18, 2017)

I really enjoyed that.


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## markleake (Jan 20, 2017)

jeremiahpena said:


> I've probably gone into way more detail than anyone cares about, but hopefully at least some of it will be useful.


Indeed very useful for you to explain what you did, since it de-mistifies the process for those of us who are learning (does learning ever stop?). Thankyou for your posts and explaining this track.

There wasn't a moment where I didn't think it could be passed off as real, and I enjoyed all of it. I think you know your libraries very well.


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## Kony (Jan 20, 2017)

Excellent piece! Thanks for sharing


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## NoamL (Jan 20, 2017)

Thanks for sharing so much information about your method Jeremiah!


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## Chandler (Jan 25, 2017)

Great sounding piece. Nice writing and mixing.


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## TGV (Jan 25, 2017)

Fantastic piece. Detailed writing and such a dynamic sound!


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## Iskra (Jan 25, 2017)

Wonderful track, I enjoyed it very much


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## Illico (Jan 25, 2017)

Nice work, pleasant to listen ...But that makes me think I still have to go a long way before reaching such a result.
But thank you, it gives me a goal! I will come back to listen again.


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## dan1 (Feb 24, 2017)

omfg


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