Not much to say really, composed for a little superhero film as a trailer piece. I enjoyed writing this one a lot, although I’d have liked some more subtle percussion elements but 32 track limit in Artist. Comments and criticisms on everything welcome again. I tried to leave a little more air thingy in the mastering.
A typically big and dramatic piece from you…not sure about the silence at 56 to 58, would have prefered some reverb in that space personally, from then on it’s BIG…maybe too big for too long but you could hear this in a chase sequence in a Batman movie for sure…it that case it wouldn’t be too big would it !! so I’m talking bollocks as usual…you just need the opportunity mate…hope it comes for you…Kevin
Masterpiece Jonathan!!! Epic epic epic! I try and listen to the strings section, it is so busy and must have been hours and hours of work to do all the instrumentation. You bring a lot of expression to the instruments and that ending, I love it ! :Listened to 2:12 to 2:23 at least 20 times, its spellbinding! Love the big spacial reverb and 0:05 - 0:07 is hypnotizing, and the whole piece very cinematic, congratulations!!! Michael.
Thanks for listening Kevin and Michael. I might add that it’s loosely inspired by Elfman’s Spiderman score. I haven’t seen movies 2 and 3 of the new Batman nor The Avengers or any others.
There’s a huge amount of reverb on there, using the Hamburg Cathedral impulse, but the strings are playing so quietly that there won’t be much reverb at that point, but you can still hear the low grumble of the ambient big drum. It could have some effect between to bring it into the next section, but for the purpose of a trailer it could be that gap where it shows a clip of an actor saying some phrase (such as in the recent ‘Elysium’ movie trailer where it kind of cuts out abruptly.) As a standalone piece it does sound slightly odd without anything at all (not even a low volume cymbal roll.) It was composed as a favour for a small Newcastle based production company. I won’t be scoring the entire film for free though.
You spoil me with compliments Michael…carry on. Took around 15 hours to write and then another 15-20 editing the instruments, drawing the breath, vibrato, expression etc in. It’s actually pretty simple,the first minute only moves from D minor to Bb major, but you don’t always need complex chords for every situation, especially if the ideas are well-orchestrated. The strings aren’t complex, they probably just sound more than they are. The cello mainly doubles the double bass an octave higher, there are only two short points over the Bb major chords where it doesn’t. The 2nd violins and violas double each other in unison for almost the entire piece. At 1:27 the 1st violins play divisi, half double the choir sopranos an octave higher and the other doubles the french horn in unison. I’m glad you enjoyed the orchestration of it anyway.
I really love the city picture I found, it has both dark and light look.
yes sounding good ,i don
t know how you come up with these tunes you must listen to a lot of classical stuff ,i was listening to holsts jupiter yesterday ,that one title has so many different strong tunes within it, its incredible. anyway Jonathan nice stuff .do you use any of those distortion plugs,tape emulators within your mixes or at mastering stage, i was just wondering cause i don`t know if i can hear some distortion in there.cheers
Great job! My only slight gripe is near the beginning, over the viola ostinato, the brass seems a bit on the quiet side… I mean, here they are, playing this broad, ascending figure, but they’re mp, and no cresc. as one might expect
Thanks Firestamper and Twilightsong, thanks for listening. I actually listen to Disney music the most, then film scores like Memoirs of a Geisha, Harry Potter, Lord of the Rings, Forrest Gump etc. I actually can’t say I even enjoy classical music, I can find some pieces interesting, but that isn’t the same as the enjoyment I get from those kinds of film/animation/videogame scores. I like more stuff from the Romantic era although I don’t spend much time listening to it.
Yesterday I listened to some neo-classical metal by Yngwie J. Malmsteen, I was into the shred guitar stuff before I started enjoying orchestra music. I must also confess I’m not actually a fan of trailer music and this piece was written in a trailer style, but I still prefer to think of it as fantasy music.
The horns are supposed to sound smooth in support of the 1st violins and not be brass dominated. I thought a crescendo, rather than letting it tail off would work in counter to the tremolo/trombone descending line in the next bars. Probably would sound alright both ways though.
Although the problem is that the strings are using both main (above conductors head) and mid mics (all four mics, close and surround in addition to the previous two) so they have a bit more body to the overall characteristic of their sound whereas the brass is just using main mics and sound a bit thin to me.
The main problem isn’t particularly the scoring of dynamics, but that the brass are lacking a certain body to the sound due to missing out the mid (or close, not sure yet) mics. The strings sound pretty weak for film score just by using the main mics alone, although they can sound more concert-like by having everything just using main mics.
Edit: @Firestamper. I’m using some distortion and a filter from iZotope’s Trash2 plugin on the synth bass. I’ve noticed sometimes on playback on SoundCloud there is like a…what I can only really describe as a ‘whistling’ kind of sound on the low and grumbling sound effect at the very start, and probably throughout although I can’t particularly hear it. Other times the playback is fine and sounds no different to the 320kbps mp3. I can do a second upload and enable downloads if you’d like to compare it with the 320kbps mp3, let me know.
I use the tiniest amount of harmonic exciter with a gentle tube at the mastering, much lower than what it’s set at by default and the EQ is only boosted/cut at 3 points by 0.4dB.