# Couple of new cues



## Simon Ravn (Jul 24, 2006)

OK just wanted to post a couple of new things. Recently finished a project where I learned a lot of new stuff, entered new territory etc. Doesn't seem to be any problems with posting these, contractually, so I'll go ahead :mrgreen: 

http://www.simonravn.com/media/Groenland-AKT3.mp3
http://www.simonravn.com/media/Svendsen.mp3
http://www.simonravn.com/media/Legetoejsbutikken-AKT3.mp3 (http://www.simonravn.com/media/Legetoej ... n-AKT3.mp3)
http://www.simonravn.com/media/Julemanden.mp3

Lots of True Strike effects in the third one (reminds me: Maarten, where the h*ll is TS2 :twisted: )
And before anyone asks, samples:

Violins, violas, cellos: custom + some VSL layered.
Basses: SI
Woodwinds: VSL + custom (one oboe run: Westgate)
Horns: VSL+SI
Trombones, trumpets: Custom
Tuba: Custom + SI
Harp: QLSO
Percussion: True Strike + QLSO timpani.


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## Christian Marcussen (Jul 24, 2006)

Very nice. Great production quality and composing - just as usual 

I wish you lots of success with it! About time the danish film scene got a talent injection 

Btw... was The Terminal temp music for 'Svendsen'?


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## Simon Ravn (Jul 24, 2006)

Christian Marcussen @ Mon Jul 24 said:


> Very nice. Great production quality and composing - just as usual
> 
> I wish you lots of success with it! About time the danish film scene got a talent injection
> 
> Btw... was The Terminal temp music for 'Svendsen'?



Thanks Christian No, actually not. Most of the temp music used in the film was some drafts I did before they even started shooting, and I didn't have anything particular in mind when I did that one - does it bear resemblence to The Terminal? I know there is some clarinet stuff in it now I think of it, but it's not a score I have listened to much I must admit (way too much accordion)


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## Christian Marcussen (Jul 24, 2006)

hehe - yeah it does sound a bit like The Terminal - but not in the "theft" sense. Not like Adams Apples... have you seen that? My left eye started twitching, and I felt a slight nausia when I heard the musical theft in that. I know they say "everyone ripps off Herrmann" - but in Adams Apples it was like note for note of his Vertigo. Even the orchestration was pretty much the same. 

Anyway - may I ask how you landed the gig? I mean getting time to do scetches for the temp track sounds ummm... great but unusual  Also I'm quite curious about the music budget in Danish films. But I guess your not telling which is ofcourse fair game 

Did you listen to the score of your predecessors? Were they even orchestral?

[Edit] Ooh.. more questions popped up. 

- How long did you have to score it?
- Was there a lot of "it's nice - but can you redo this and that"


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## Simon Ravn (Jul 24, 2006)

Christian Marcussen @ Mon Jul 24 said:


> hehe - yeah it does sound a bit like The Terminal - but not in the "theft" sense. Not like Adams Apples... have you seen that? My left eye started twitching, and I felt a slight nausia when I heard the musical theft in that. I know they say "everyone ripps off Herrmann" - but in Adams Apples it was like note for note of his Vertigo. Even the orchestration was pretty much the same.
> 
> Anyway - may I ask how you landed the gig? I mean getting time to do scetches for the temp track sounds ummm... great but unusual  Also I'm quite curious about the music budget in Danish films. But I guess your not telling which is ofcourse fair game
> 
> ...



No, I haven't seen Adams Apples. Will try to see it sometime and have this in mind.

How I landed the gig... well, the usual: Connections. I got a gig for the producer last year because one of my friends was an editor on that - and then he came back to me for this one.

Regarding working on sketches before shooting/editing, yes, I wasn't too happy about this idea. But in the end I actually ended up using almost all of it for some scenes, and could then build on it from there. So it wasn't a waste of time and I don't think I necessarily would have come up with something better if I hadn't written a note before I got the 1st cut of the film. It is the way this director works, and I wouldn't object to doing it that way again.

Regarding budget... Right, it's ridiculous. At least for this kind of film, and I don't think it's generally much better. At one point in the middle of the processed I was joking to people about how I made about the same money as someone working for McDonalds So no... this is definitely not for the money. 

About the predecessors.. Nope I didn't view them. I saw some of it a long time ago, and as I remember it was sparesely scored with the typical cheap synth suspense music. This is one of the first childrens movies getting the "Hollywood treatment" musically.

How long time did I have. Well, I did the short sketches in the end of February. I guess I spent around 5 days of work on that. Then I didn't continue until the beginning of may, and worked full time (and more) until the beginning of july where I delivered the final mixes. So around 10 weeks I would say.

There was four "rounds" of changes/rewrites. First one, because the first edit I wrote for, was changed quite a lot and I got the new, locked cut about 2-3 weeks later. So I had to change and redo some stuff for that. Then there was changes suggested by the director, then by the producer, and then we viewed the film together with the sound editor, and that created a dozen of changes as well. So I would say I spent around a week in total on rewrites/changes.


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## Simon Ravn (Jul 24, 2006)

Jackull @ Tue Jul 25 said:


> Simon,
> 
> Quite a long process of rewrites & revisions huh... did you run out of patience?
> anyhow, as usual i like those strings combi of si & custom (pp i assumed). very expressive. what's the film about?
> ...



Naah, I obviously don't like doing changes, but it never frustrated me The only SI strings here are the basses btw. Film is a childrens/family movie about a kid who has to save christmas, basically


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## JBacal (Jul 24, 2006)

Simon, very nice work.

I really liked the sound stage you achieved in Svendsen piece. Would you mind talking a bit about how you achieved this-- reverb, placement of sections left-left, front back, EQ? I'm still struggling to get such a full, wide airy atmosphere.

Thanks,
Jay


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## Christian Marcussen (Jul 24, 2006)

Simon Ravn @ Mon Jul 24 said:


> Christian Marcussen @ Mon Jul 24 said:
> 
> 
> > hehe - yeah it does sound a bit like The Terminal - but not in the "theft" sense. Not like Adams Apples... have you seen that? My left eye started twitching, and I felt a slight nausia when I heard the musical theft in that. I know they say "everyone ripps off Herrmann" - but in Adams Apples it was like note for note of his Vertigo. Even the orchestration was pretty much the same.
> ...



Sweet - thanks for the run down, I really appreciate it!  Its always great to get the war stories! I think a revision process as you describe would frustrate me... Depending on the size of the rewrites. 

Good job - shit - I would almost consider watching the movie now that I know you scored it


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## Ned Bouhalassa (Jul 25, 2006)

Fantastic work, as usual when it comes to your cues. My only criticisim is that they sounded quite dated for my taste. But then again, considering the kind of film it is... it makes sense. That last cue is really, really great! I know you've heard this before, but if you were in L.A., you'd make a *lot* more than McDonald's money - but then you'd give half of it to Bush and gang!!! :shock: 

The best part, of course, is that it sounds like you had fun and you learned some more, and that's the point of composing - right?!! :wink:


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## JacquesMathias (Jul 25, 2006)

Simon,

great job! I don't think it's dated. There is lots of musical aproach, and orchestral scores still have long life...Nothing against MV as well, i do like the style for some movies.



Cheers.


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## ComposerDude (Jul 25, 2006)

Really enjoyed these, Simon - great work.

-Peter


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## Scott Cairns (Jul 25, 2006)

Great work Simon, I enjoyed it too. My hats off to you for never going the MV route (although I do regularly!)  

I really like your voicings orchestrally speaking, nice use of the winds in particular.


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## José Herring (Jul 25, 2006)

This is very very good Simon. I like the chord voicing. I disagree with Ned a little I don't think it sounds that dated at all. It sounds very traditional and I think with a few choice synth pads here and there it would sound more contemporary, but in the end it's just good.

Sometimes the violins sound bright and a little synthetic, but the programming makes up for it. The programming being very musical.

Really well done. I'm starting to see the value of close miced instruments with Altiverb. Very intimate and life like.

José


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## Simon Ravn (Jul 25, 2006)

Right, it is VSS3.


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## Ned Bouhalassa (Jul 25, 2006)

Simon Ravn @ 25/7/2006 said:


> What do you mean by "dated"? As you might know I am more a fan of using the orchestra to sound like a normal orchestra than going for a Zimmer/MV sound. Don't know if that's what you meant, but I am more going for a classical orchestral sound than an over-produced one.



Well, it's not about the sound, really, more the melodies, harmonies, rhythms, etc. I'm thinking of Svendsen, for eg, and Legetoejs. Perhaps I should have used the term traditional instead of dated, but at the same time, I do think that those cues could have been composed 50 years ago. Clearly, I can tell that those cues must have worked perfectly in the context of a family film. I don't mean for that to be the focus of my feedback though. please. You *are* one of the best virtual orchestra composers, hands down, and I always enjoy listening to (and learning from) your cues! :wink:


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## pdzl (Jul 25, 2006)

Simon Ravn @ Tue Jul 25 said:


> Right, it is VSS3.



I am impressed by how VSS3 sounds here. It sounds very realistic!

These are some of your more subtle cues that I have heard. As with your other cues, I like this a lot. Nothing to complain about.

Cheers,


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## kid-surf (Jul 25, 2006)

I'd like to listen Simon, but as an american, I'm not allowed. 

Links don't work for me. (I'm really curious as to "WHY", anyone know?)


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## Dr.Quest (Jul 25, 2006)

kid-surf @ Tue Jul 25 said:


> I'd like to listen Simon, but as an american, I'm not allowed.
> 
> Links don't work for me. (I'm really curious as to "WHY", anyone know?)



I'm American in Portland, Or. and I have no trouble playing the links. Sounds great as always. Very nice comps.
J


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## Niah (Jul 25, 2006)

Well done Simon, I've always liked your old sk00l approach and considering that it's all done with samples that's a pretty cool achievement.


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## Evan Gamble (Jul 25, 2006)

love them all! Thanks alot for sharing Simon.


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## tobyond (Jul 25, 2006)

Truly impressive, you are a rare talent.


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## Sid_Barnhoorn (Jul 26, 2006)

Ey Simon,

Sounds briliant. Great hearing some new work by you!

Cheers,


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## Damon (Jul 26, 2006)

Great stuff as always Simon. :wink: 
Those Prague samples really sound nice and lively, especially the strings in that last cue at around 3:53 til the end and the TrueStrike samples sound great as well.
Gotta love that VSL legato clarinet too!


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