By "samples" he means...

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BWil
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By "samples" he means...

Post by BWil » Thu Jun 04, 2015 1:59 pm

Listing:
SCIENTIFIC UNDERSCORE INSTUMENTALS are needed by a strong Boutique Music Library that specializes in some very unique Film/TV placements, often outside of the U.S. market! This company has a huge client meeting coming up, and they want to present this music to be used on upcoming science-related TV shows. Give them top-notch Instrumental Tracks that would be suitable for technology-driven shows like How Stuff Works, Through The Wormhole, Futurescape, etc., etc., etc. Please take a listen to the following examples to get a feel for what they need: How Stuff Works clip: http://www.discovery.com/tv-shows/other ... ks-videos/ Through the Wormhole clip: http://www.sciencechannel.com/tv-shows/ ... machine-2/ Futurescape clip: http://www.sciencechannel.com/tv-shows/futurescape/ Give them Instrumental Tracks in ALL-Tempos that range from Orchestral Underscore to propulsive, forward moving Electro Tracks (or hybrids of the two styles!) that convey a sense of wonder, curiosity, and scientific discovery. Bust out your “inner nerd” for this pitch! Please avoid submitting Orchestrals that sound like you used cheap or dated sounding samples that are stiff or MIDI-driven. If you’re submitting Electronic-style Tracks, a little science-y “stiffiness” would be expected. You’d be smart to stick with one central melodic motif and create forward movement and interest by adding and subtracting layers of instrumentation as the piece progresses. All submissions should be at least 2 minutes in length. Easy edit points and buttoned endings are encouraged. Do not copy or rip off the referenced examples in any way, shape, or form. Use them only as a general guide for tempo, texture, tone, and vibe. Broadcast Quality is needed (Great sounding home recordings are fine). This Library offers an EXCLUSIVE, 50/50 split. You’ll get 50% of any applicable sync fees and 100% of the Writer’s share. They’ll get 50% of the sync fee and 100% of the Publisher’s share. PLEASE do not submit any music that is already signed to ANY other catalogs or libraries for this pitch!!! You must own or control your Master and Composition to submit to this opportunity. Please submit one to three Instrumentals online or per CD. All submissions will be screened on a yes/no basis – no full critiques, and must be received no later than 11:59PM (PDT) on Thursday, May 21st 2015. TAXI #D150521DI
Submission: "Ingenuity" from my taxi page http://www.taxi.com/B_Wil

Just got a review back. I suppose I've got no qualms with the critique, as long as I'm understanding the meaning of "samples".

The reviewer is referring to the instruments/sound patches, correct?
Some of your samples are okay, Bryan, and others not so much. By and large they could do with some freshening. The quality of the production in this instance doesn't quite equal the quality of the composition itself. On the right track though.

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Re: By "samples" he means...

Post by hummingbird » Thu Jun 04, 2015 4:51 pm

Correct. VI's (virtual instruments)
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Re: By "samples" he means...

Post by BWil » Thu Jun 04, 2015 7:50 pm

Ah, ok gotcha. Disappointing, but I'll see what I can improve.

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Re: By "samples" he means...

Post by Paulie » Thu Jun 04, 2015 7:58 pm

I just gave it a listen, the string patches are a little out of date, and some of the other synth patches sounded a little thin. What are you using for your sound library in this track?
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Re: By "samples" he means...

Post by Len911 » Thu Jun 04, 2015 10:35 pm

I think it's the "pad" sound from 1:20 to 1:34

I'm just guessing, but I think "string pad" sounds probably evolved from people wanting "string sounds" from their organs?? The sound envelopes seem to be similar at any rate, no attack and continuous sustain?? The thing about organs though is that there seems to be a vibrato, distortion or leslie that offers some variation.

Try using a Hammond or a Wurly with some distortion and a leslie for the pad instead of the string thing.

14 seconds is going to need a lot more bow changes and variation than anything a short loop could ever offer.

As the pad is, it seems to need some sort of "effectery" of some sort imo.

Hth

composition-wise it sounds great!
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Re: By "samples" he means...

Post by Gypsygal » Sat Jun 06, 2015 7:21 pm

Hey Bilw - I had a quick listen, I just think you didn't hit the listing exactly as far as the mood. Now on the other hand, if you had pitched
your "Psin/Reward" track starting at about :33, I think that would have absolutely nailed it.

Cheers, diane

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Re: By "samples" he means...

Post by BWil » Tue Jun 09, 2015 1:24 pm

Sorry I'm just checking back with the forums guys, I didn't think I'd get so many responses!
Paulie wrote:I just gave it a listen, the string patches are a little out of date, and some of the other synth patches sounded a little thin. What are you using for your sound library in this track?
I'm using Kontakt 5 currently, with most of their Orchestra Library being the source of my synth sounds. I know the synth patches sound thin, but in my opinion ALL synth patches usually sound thin. I really have a hard time differentiating "dated" from "current" when it comes to synth sounds because the thin, hard attack of synth sounds IS what makes them synth sounds to my ears. I'm still trying to figure that out though :?

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Re: By "samples" he means...

Post by BWil » Tue Jun 09, 2015 1:31 pm

Len911 wrote:I think it's the "pad" sound from 1:20 to 1:34

I'm just guessing, but I think "string pad" sounds probably evolved from people wanting "string sounds" from their organs?? The sound envelopes seem to be similar at any rate, no attack and continuous sustain?? The thing about organs though is that there seems to be a vibrato, distortion or leslie that offers some variation.

Try using a Hammond or a Wurly with some distortion and a leslie for the pad instead of the string thing.

14 seconds is going to need a lot more bow changes and variation than anything a short loop could ever offer.

As the pad is, it seems to need some sort of "effectery" of some sort imo.

Hth

composition-wise it sounds great!

I hear you loud and clear, Len. That pad was a "pros vs cons" when I used it there. It sat really plainly with consistent sustain like you said, but it offers a recurring eight-note reset that provides a slightly percussive quality that I really wanted and needed. It's not really too audible because it's mixed in with the other instruments, but overall the piece still sounds like it's "moving" at that point and I really liked that. I'm comfortable with that sacrifice if it's the reason why.

I really appreciate your input though. These are things I'll be keeping in mind as I'm composing in the future.

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Re: By "samples" he means...

Post by BWil » Tue Jun 09, 2015 1:32 pm

Gypsygal wrote:Hey Bilw - I had a quick listen, I just think you didn't hit the listing exactly as far as the mood. Now on the other hand, if you had pitched
your "Psin/Reward" track starting at about :33, I think that would have absolutely nailed it.

Cheers, diane

You're right, Diane. The "Passion & Reward" piece would have worked well for this submission. Unfortunately, I didn't make it until about a week after the deadline passed for a different submission! :lol:

Thanks for listening and the compliment on the pieces though. It's very encouraging for somebody still trying to get a grasp on everything.

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Re: By "samples" he means...

Post by Len911 » Tue Jun 09, 2015 4:01 pm

BWil wrote:Sorry I'm just checking back with the forums guys, I didn't think I'd get so many responses!
Paulie wrote:I just gave it a listen, the string patches are a little out of date, and some of the other synth patches sounded a little thin. What are you using for your sound library in this track?
I'm using Kontakt 5 currently, with most of their Orchestra Library being the source of my synth sounds. I know the synth patches sound thin, but in my opinion ALL synth patches usually sound thin. I really have a hard time differentiating "dated" from "current" when it comes to synth sounds because the thin, hard attack of synth sounds IS what makes them synth sounds to my ears. I'm still trying to figure that out though :?
Samples and synths are distinctly different. Thick and thin could be the type of synth used, and from a sample perspective, the arrangement. Fat analog subtractive synthesis, thin bell clarity of FM synthesis, higher note violins versus lower note double basses and cellos. "orchestral sample" patches for instance usually list what instruments are contained and whether played an octave higher 8va or an octave lower 8vb. For example, a patch with double basses containing 8vb will sound thicker and lower than an 8va, and a patch with no dbl basses would be thinner. A basic balanced patch that has a full string section, will not play the instruments if they are out of range, so if you never use the bass clef, and only the g clef, (and the influence of the 8va or 8vb instruments), you should expect a "thinner" arrangement.

You could probably put all the following terms in the same folder; synthy, midi sounding, dated, fake sounding.

I'm sure there are dated instruments, harpsichord??, original rompler violin with a micro second loop,lol, though I think "dated" generally refers to outdated sampling techniques, though also possibly fashion statements, like "string machines" but they probably coin that "retro"?? But nobody will ever call your 19th century violin "dated".
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