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purplehamster

New Member
Yo this is a really cool piece! It definitely strikes me as more of a tactical JRPG vibe but quite frankly I love that stuff unabashedly. Besides, as long as you can find someone who agrees with you there’s really no wrong approach haha.

If you really want to know the “right” way to score this I guess we’ll have to see who wins because I missed the mark. I can however offer some opinions on where your piece might be strengthened with respect to itself:

0:00 - 0:26
  • You have a nice theme here! I wish it returned later in the piece though so I could chuckle to myself around strangers thinking “Ahhh yes how profound... but what does it mean? What doesn’t it mean???” They wouldn’t get it, obviously.
  • It sounds like the woodwind melody is using a call-response structure like ABBA (not the pop group) where the 2nd B is a copy of the first B and the 2nd A has a little less steam than the first A, losing energy where it should probably be ramping up a bit - I think in part to the center-panned oboe dropping in volume while wider stereo, quieter, less focused winds takeover with pickups to the next part.
  • Regarding the structure, a simple remedy might be to change the direction of one of the B phrase endings, either up or down to contrast with the other a bit. And for the 2nd A around :24 try reinforcing the melody by having something join the oboe. You could use just about anything really, like low malevolent woodwinds an octave lower, a swell of horns to add impact to the portal blast, or a tremolo strings crescendoing to an inescapable swarm! Can’t go wrong really, just build that tension.
0:26 - 0:37
  • I like that you hit the portal blast. I think one more hit on “The Orchestra Complete” shot would help. Regarding the snare, maybe instead of “hit - rest” or “hit - hit” using a “roll —> hit” combo there would work better.
  • If you have a more robust percussion library try mixing up those additional articulations - rolls, flams, rimshots for example - in between accents. I often do this as a sort of grace note when I’m programming snares. If you don’t have those articulations no worries, there are ways to program this sort of thing that can still be quite effective.
  • I dig that tambourine. It’s a nice little detail and it gives a distinct Uematsu Spanish vibe in this context

0:37 - 1:20
  • I like that you’re picking up the energy with the snares
  • Working on your percussion programming chops is gonna open up another world of expression, especially when you really want to drive something home. Before long you’ll be like “Oh pshh that’s how they do that!”
  • I think you have a solid idea you’re going for here. The ending could be fleshed out a bit more in the low end to give more foundation to the chords and there could be some more counter rhythm in the middle voices for momentum. It doesn’t have to be on this track of course, just experiment often with layering, push it way too far, let it be be sloppy, and eventually you’ll figure out how to dial it back, clean it up, and bring that vision in your head to life with clarity

I hope some of these thoughts are clear and helpful and I REALLY hope they are encouraging at the very least. Once again, nice job and keep at it!

Douglas
Thank you Douglas for the informative and detailed analysis. I really appreciate the time and effort you've put into this.
 

purplehamster

New Member
lmao I think I’ve only seen the trailers for the Saw films. I’m glad you liked it though! Here's a list of the libraries I used since you asked:

Strings
  • Westwood Untamed Quartet
  • Berlin Strings
  • Metropolis Ark 4
  • Dimension Strings SYNCHRON-ized
  • BBO Regulus String FX
Brass
  • JXL Brass Trombones a3, Trombones a3, Solo Horn, Horns a12
Woodwinds
  • Berlin Woodwinds + Expansions
Percussion
  • Berlin Percussion
  • BBO Fornax
  • Damage 2 (patch: Monster Ensemble)
Organ
  • Tallinn (various)
Full Ensemble
  • BBO Andromeda

So do you have any favorite OSTs? I feel like I heard some Fire Emblem vibes in your track.
I've used Jaeger and BBCSO Core for my track.

Game OST: Bastion, Assassin's Creed, God of War (2018), Darksiders
 

dhmusic

An actual volleyball
I reckon it is really inspiring what you are doing here. You are listening with attention to all the proposals and providing constructive feedback to everyone. I take my hat off for you sir!

Many many thanks!
Víctor
I appreciate that so much Victor! Thank you, I'm glad I could be helpful :)
 

ClaudioT

New Member
Nice work Claudio - I enjoyed the Bloodborne-like energy. Here are some thoughts I had after watching a few times:

INTRO
I really liked this - Definitely caught my attention and the breath is a nice setup for the vocals that come in later. Good job.

I have mixed feelings on the the piano chord but I’m not totally against it. It might benefit from a change of instrument or a softer/distant quality. Or maybe establishing it again to help legitimize it a bit. I think I was generally unsure what it was punctuating though. On my first impression it clashed a bit with an otherwise strong brood you’re building up. I didn't notice it as much on later viewings, however.


BODY
I really like that you’re developing a clear theme across the whole piece. I’m sure you spent a good bit of time trying to decide on how the theme would be established in the first half and personally I found it hard to do in 40 seconds. It works decently as it is but perhaps it could be stronger with a few tweaks . One idea could be to establish the theme a bit later leaving more time to build the brooding energy while consolidating the "foreshadwing" a bit. But again this often feels like a tricky balance to strike and I think you did well with it as it is.

I think everything from the “Horns of Hell” logo through the end is solidly composed and engaging. Good job!

On a constructive note, There were a number of visual beats that I think you could have capitalized on more confidently but I imagine you were fighting an uphill battle because of the tempo. I find it really helps to first map out the beats and hits to create a roadmap for a composition. Plus, this establishes some helpful limitations that might free up more creativity.

Finally, good job keeping the vocal clear, even with the added reverb (nice touch).

I hope some of this is helpful - Looking forward to hearing more in the future :)

Douglas
Hi Douglas, sorry for the late reply.
You can’t imagine how much your comment is appreciated!

Just for (funny) information, before starting composing I mapped all the moments that I was thinking should have been hit in a comment track in Cubase. I saw that in a video on YT, I think it was by Dom Sigalas. But probably I didn’t pay enough attention to Dom: as soon as I started to input notes, I changed the tempo and all the markers went berserk, insolently out of place. :shocked:

I guess I still have a huge lot to learn.
 

dhmusic

An actual volleyball
Hi Douglas, sorry for the late reply.
You can’t imagine how much your comment is appreciated!

Just for (funny) information, before starting composing I mapped all the moments that I was thinking should have been hit in a comment track in Cubase. I saw that in a video on YT, I think it was by Dom Sigalas. But probably I didn’t pay enough attention to Dom: as soon as I started to input notes, I changed the tempo and all the markers went berserk, insolently out of place. :shocked:

I guess I still have a huge lot to learn.
Oh man you should have gone for easy mode and used the tempo (or subdivision) from the original trailer. No tempo map required lol.

Glad I could be helpful! We all have a lot to learn but yeah Cubase can be really fussy when moving tempos around.
 
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