Consider copying the first measure to the end and the last measure to in front of the first, exporting that, and cutting out the song in a waveform editor. Works better for me when looping stuff. :)
Sounds kinda neat... not my cup of tea, but it's definitely interesting to say the least.
Yeah its nothing special compositionally(I-ii over and over with a mixolydian melody haha). Its more about the production that makes it new for me. You never know what a client is gonna want stylistically and reggae is one of many I have no experience with.
I'll definitely take the loop idea to heart, but in this case there is truncation every single measure so it would make no difference. =P
Thanks for the kind words,
Cheers!
- Breed
Some very good mixing/mastering. Reverb is good and instruments are nice and full, which is rare. Sometimes the folk flute is a bit too quiet imo.
Good work! :)
Thank you so much, I'm glad you're able to say that! ^_^ I used to have the absolute worst time with the instruments until I got better headphones. Lol unfortunately the headphones must be too good, 'cause the flute kept blasting my ears away and I continued to lower the volume. Oh well, I can fix it later I guess, hahaha. Thanks for listening! <3
Good... except I can't believe you used that chord progression. C'mon... seriously? :3
One critique is that the horn sound you used is wayy too high velocity for the feel you want. Use a mezzo forte or mp volume/patch but just bring it up in the mixer. Remember that even within instruments is a range of feels that should be carefully watched.
I really like the B phrase. A lot of people make B phrases that are really bland or not contrasting enough, but you did a good job bringing in a new feel for a bit.
I question why you chose the piano for the A section march. I think a brass ensemble would be able to symbolize the feeling of a march a bit better, or even an emulation of fife-and-drum. Programmatic music is something where you should never be afraid to use something out of line or unexpected. :)
One recommendation is to have a bit more variation in your melodies and ostinatos (repeating patterns). Perhaps have the snare pattern change every 4th measure or likewise with other instruments, having certain times slightly different. This keeps the music fresh and evolving even through a buildup.
I also think you could use more orchestra in this... I understand the need for an intimate feel, but soldiers marching? I'm thinking full steam ahead orchestration-wise. Also don't be afraid of ornamentation, either within parts or just by adding counter-melodies to the piece by adding other parts (a few nice woodwind ornaments never hurt anything).
Keep compos(ed/ing)!
-Samulis
Thank you Samulis.
I'll be sure to take all your advice into the fold next time for sure :D
(whyioughtayousonofabitch)
Remind me to convince you to collaborate on a piece eventually. ;)
I love the good use of dynamics on the drum and the careful use of emphasis on certain notes to create a good rhythm. Whenever I try to play drums, it all goes to hell in a handbasket. :(
Part of the reason why I'm able to play this offhand is because I used to listen to a few solo players (strangely enough, Eastern style -- so taiko and daebuk players -- listening to bodhran solos came later). But the deal with listening to them is that you get the flow of the rhythm. Surely, when listening to a rhythm with even a great deal of syncopation you can tell in which time signature the drummer is playing, so start there -- take it slowly -- and when you're more confident, build up on the speed. : )
I'm glad you liked the thing, by the way. <3 What are you thinking of using the bodhran for? Tell me more.
Another great work. :)
I really like the calm start- it has a good feel to it. The fast cello-centered epic part was nice, but could have been a bit stronger, perhaps by adding counter melodies and some more brass (horn stuff) and percussion (especially gong, orchestral bells, cymbals, or even anvils).
The slow, tambourine-backed final section was great, especially with the layering of strings, however, I feel there could have been a bit more complex harmony than just straight chords behind it to give it a bit more feel, and perhaps more percussion... if you have any hand-drum or tenor drum sounds, give a quick, light pattern on those a try. If you listen closely to most Howard Shore LOTR/Hobbit music with some really good phones, you'll hear what I'm talking about. The heavy drums are good for establishing a pace, but some lighter drums can add a lot more action and energy to the piece.
At first I thought our mystery solo instrument was something like a crumhorn, but a third listen makes me think it's a form of bagpipe.
One of the things I think you should try using more is counter-melodies and "call and reply"-type things where your melody goes and a second melody line flows next to it, offering embellishment to the melody in little phrases when the melody is not moving or such (an example is here once the oboe takes over from the flute, the flute comes in with little phrases answering the oboe as well as 1:19 when there's a bit of a round going on with one phrase: http://www.newgrounds.com/audio/liste n/509820).
All in all, I liked this piece. It has a good feel to it and you did a great job developing and varying the theme and instruments enough so it is definitely not boring by any means. The melody is nice and somewhat catchy. All in all a good piece. :)
Keep compos(ed/ing)!
-Samulis
Thanks for the nice review! I really appreciate it!
I agree with most of your review. This piece certainly can be improved in many respects and/or expanded too. Mostly though, I was experimenting with the style of composition. I will probably write another piece soon that will incorporate much more variance and elements of interest once I get the time. xD
Thanks for the listen and review!
Hey man! Welcome back. :)
Song sounds really nice, good blend of techno and orchestral elements. Perhaps consider some large percussion and/or orchestral hits as well as marcato strings.
Thanks for you review (it`s quite empty here, lol).
Enjoying the thrill of power? ;)
I'd really enjoy a bit more on the harp volume- if you have close mics, add those. Harp close mics reduced a little in volume added to the mix sound fantastic. Also, your strings (I reckon you used the expressive patch) seem to have a bit too much delay at times with chords. Also, some more reverb wouldn't kill on some instruments... I'm surprised by how well you managed to use EWQL instruments on the first go; most people have a lot of trouble getting a good mix when they first start using them.
As a whole for the first few minutes, the piece feels rather flat... it doesn't really go anywhere fast. Suitable for underscore, but for listening? Not so much. The repetitive nature is not very inviting... I would love a more distinct B section with a different emotional timbre- You have shown me calm, beautiful, and triumphant. There is really only one theme and a bunch of ostinato with one little stretch of something kinda different in the middle. I find it too long for the lacking subject matter if you are treating this in the cinematic style you wrote it... if this were out of a more classical style, it'd be fine at this length.
At the recap around 5 minutes, I'd love to see some counter melodies (also throughout the song) and more variation. There is not enough variation, like a song without lyrics, and counter melodies are non-existent. Stretches 2:55 to 3:40ish and 6:20 to the end could do with SOMETHING happening... flute/oboe/bassoon solo, trading, etc. Sounds like someone decided to go Ctrl-C Ctrl-V a dozen times and figured that was enough, tbh. :P
One piece of orchestration advice I read out of book by Rimsky-Korsakov would apply very well to this- "FRESHNESS of color is more important than exotic color." Whether that means changing the key or bringing in a completely new melody and letting the strings rest a while while brass plays alone or woodwinds lead, it's a solid piece of advice for a long piece.
As for atmosphere, you did an amazing job portraying a calm. I don't know if the title really has much to do with the actual atmosphere though- when I think of freedom, I think of glorious heralding brass and patriotic music. This sounds more like walking across a prairie or hills while the sun slowly sets.
Something to try out is a richer low-end. Some good, wet doublebass notes (use the section sound) can really give the piece a very open and rich feel.
Percussion is good and effective. Consider plopping some gong in too- the 60 inch has a real quiet spread sound that is perfect for the start of a quiet passage. Your timpani part is bland with just quarter note hits, consider more complex rhythms. Timpani is often abused and forgotten- it's a really amazing feel if used well, even just light hits here and there and subtle rolls.
One last thing to note... the Licensing Terms on Newgrounds declare that commercial use is not allowed already, there's no need to repeat that. ;)
All in all, a very nice piece, but could use improvement compositionally, notably in the areas of variation, orchestration, and using counter-melodies to give the listener a fresh sound. It was not really so stellar that I am emotionally touched beyond the raw surface as a listener or impressed by the technique and originality, but it was definitely a step above most of what you see around here.
Keep compos(ed/ing)!
-Samulis
Yeah, every time I begin anew with VSTs I've not used before, everything comes out very raw. There were places in this piece where I wasn't entirely satisfied with what I had to work with (I'm especially not fond of EastWest's strings or string sections). And, believe me, I'm very open to hearing any tips on how to make EastWest sound better.
I am pretty sure it does have Close mics (it is the Gold version), so I will give that a shot.
The original piece I composed strictly for piano when I was 18 years old (which, at the typing of this, was almost 13 years ago), so trying to adapt a long piece to an orchestral setting, I was in no hurry to build it right away, hence why it was light for the first bit.
I absolutely admit fault in the department of sticking to what is familiar in technique. I do try to learn more techniques as I go along while using the techniques I've been used to using over the years. I did not go to school for music; everything I know I learned from 13 years of piano training, 6 years playing in a church band (where I had to learn how to play "by chords" (improv), an difficult concept to someone who was raised with music theory) and 18 years of composing and just learning and trying new things as I go along (same goes for mixing, too).
The last time I tried to learn how to use a new VST, it took me months of playing around with it to get my bearings, and the same will be true of this working with Complete Composer Collection. (Good example: on my audio list here, "VSL Practice #2 - The Moon Tear" was the first piece I tried with that VST (although it was a VERY OLD version of it) and it sounds very raw whereas the most recent piece that NG's uploader let through "Hell I" sounds much more polished)
And my comment about it not being authorized for commercial use was going off of the Creative Commons clause that any commercial use would require permission from the artist, and I was putting out there that the answer is already "No".
I do thank you for the pointers and appreciate the critique. If you know any other good tips on using EastWest VSTs, I'd love to know: george@georgerpowell.com
I like the vibe, I really do. :)
yes there is some kind of vibraphone in there though it's actually a synth keyboard thing
Sweet! Listening on my mixing phones... so epic. O.o
You're really great at that cinematic sound, regardless of the cultural feel. There's always a lot of little things going on in your pieces that really add to them that most others wouldn't have thought of adding... little flute motifs or a metallic hit at just the right moment.
This has a really great relaxed feel, definitely perfect for an underscore or a soundtrack. Not much of a present melody, but I wouldn't really expect one in this sort of style. Definitely great work involving both acoustic and electronic elements smoothly, has a real polish to it!
See, this is why you should compose more! :P
Keep compos(ed/ing)!
-Samulis
This person means a lot to me and I take him as guidance. Always learn from you. Thanks a lot for your presence and kind words. I agree, in terms of melody, this type of music is somewhat robotic and I really had hard time fitting melodic pieces into it. Definitely will do more as soon as I find some free time. Will be waiting for yours as well. Selfishly, for learning too :)
Excellent work as always!
It has a certain pop feel to it- like it's asking for some vocalist to sing over it.
I really like how the addition of hand drums came out... I thought that would sound good. ;)
Overall, amazing mix. I see little room to improve on much in this piece anyway. Your use of motifs is well done and provides some good continuity between more ambient stretches and melodic stretches.
Keep compos(ed/ing), my friend!
-Samulis
I'm glad my mixture was satisfying. Let me know when you want some more.
Orchestral music, weird instruments, and sample libraries just about sums it up.
Age 29, Male
Sample Library Dev
Berklee College of Music
New England
Joined on 1/3/10
- MB - Reggae Menu Loop 
LB - Triumphant Return 
A Love Unforgotten 
