"Faded Blue Memories" cue (not for a listing)
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- irthlingz
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"Faded Blue Memories" cue (not for a listing)
We'd appreciate any feedback on this piano and string-based cue. Does it work for sync? Do the edit points and ending work? Does the name fit the feeling of the cue? We're thinking of calling it "Oh Those Times" instead. Is that better? Our intention is to evoke a nostalgic feeling. Does that succeed? Thanks! === Sharon & Michael ===
https://s.disco.ac/nbxmgchbhyep
https://s.disco.ac/nbxmgchbhyep
- melodea
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Re: "Faded Blue Memories" cue (not for a listing)
Hi there, I think the cue is on a good way. My 2 major issues are not the title, ending or editpoints but no1 the harmonic change at 9 sec (it comes also at 31 sec and so on) is kinda weird for this type of cue. No 2 the strings programming and sound is too Midi! Nowadays the bar for strings programming is massively high. Watch tutorials from Marc Jovani on YT! Heβs the master good luck
[glow][/glow]Melodea a.k.a. Chris Moser
- irthlingz
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Re: "Faded Blue Memories" cue (not for a listing)
Thank you, melodea! We will work on the points you mention. === Michael & Sharon ===melodea wrote: βThu Sep 22, 2022 8:38 amHi there, I think the cue is on a good way. My 2 major issues are not the title, ending or edit points but no1 the harmonic change at 9 sec (it comes also at 31 sec and so on) is kinda weird for this type of cue. No 2 the strings programming and sound is too Midi! Nowadays the bar for strings programming is massively high. Watch tutorials from Marc Jovani on YT! Heβs the master good luck
- Telefunkin
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Re: "Faded Blue Memories" cue (not for a listing)
Hi, I've heard quite a lot of your tracks from your postings, and have some comments that I hope you will take as they are intended - as an attempt to provide help rather than simply be critical.
I get the impression that you're letting the process and the technology totally lead your productions. I've noticed a lot of artificially generated parts that are not always assembled in ways that work or as a musician would have played them. I agree totally with Melodea about the harmonic changes in the piano part that, to me, completely detract from the musical flow and the whole mood of the piece. Without those it would have been a very nice part, but I don't think a pianist would have made such choices, and my guess is that they are only there because they the part was artificially generated. That could be a problem with the way the program was 'seeded' with chords, so maybe that requires a little more care to get better results, although I'm surprised that you thought that it worked OK. If you'd written the piano part yourself I doubt that you would have made those choices, and it would probably have had more musical flow and maintained the mood.
The piano is not the only issue in the track though, and I agree again with Melodea that the strings are stiff, rather abrupt, and not like a string player would have played. That draws attention to them immediately for the wrong reasons. This might be a result of using the VST instrument right out of the box without attempting to 'play' it. Even the best or most expensive sound libraries require the use of articulations to simulate how a musician would play the instruments if they are to sound convincing.
The above is long-winded, but I hope you can see my point. What I'm suggesting is to make sure that its YOUR ideas that steer what happens in each piece of music, and not rely on the generated parts or default VST settings to dictate the end result. Ensure that generated parts give you what you wanted, sound musically coherent, and sound like players would play. If they don't come out like you want, or don't sound real, or sound abrupt or non-musical, or break the musical flow, then change them until they do work. Similarly, use all the features necessary within VSTs in order to 'play' the instruments and get the realism and emotion. If you can't get there, try different articulations, or another instrument, or another library. Use whatever it takes to get to what you hear in your head, rather than letting the software tell you how it goes. Be critical, but above all, take charge!
No, its not easy, and we all struggle with these things, but they are important. Good luck .
I get the impression that you're letting the process and the technology totally lead your productions. I've noticed a lot of artificially generated parts that are not always assembled in ways that work or as a musician would have played them. I agree totally with Melodea about the harmonic changes in the piano part that, to me, completely detract from the musical flow and the whole mood of the piece. Without those it would have been a very nice part, but I don't think a pianist would have made such choices, and my guess is that they are only there because they the part was artificially generated. That could be a problem with the way the program was 'seeded' with chords, so maybe that requires a little more care to get better results, although I'm surprised that you thought that it worked OK. If you'd written the piano part yourself I doubt that you would have made those choices, and it would probably have had more musical flow and maintained the mood.
The piano is not the only issue in the track though, and I agree again with Melodea that the strings are stiff, rather abrupt, and not like a string player would have played. That draws attention to them immediately for the wrong reasons. This might be a result of using the VST instrument right out of the box without attempting to 'play' it. Even the best or most expensive sound libraries require the use of articulations to simulate how a musician would play the instruments if they are to sound convincing.
The above is long-winded, but I hope you can see my point. What I'm suggesting is to make sure that its YOUR ideas that steer what happens in each piece of music, and not rely on the generated parts or default VST settings to dictate the end result. Ensure that generated parts give you what you wanted, sound musically coherent, and sound like players would play. If they don't come out like you want, or don't sound real, or sound abrupt or non-musical, or break the musical flow, then change them until they do work. Similarly, use all the features necessary within VSTs in order to 'play' the instruments and get the realism and emotion. If you can't get there, try different articulations, or another instrument, or another library. Use whatever it takes to get to what you hear in your head, rather than letting the software tell you how it goes. Be critical, but above all, take charge!
No, its not easy, and we all struggle with these things, but they are important. Good luck .
Graham (UK). Still composing a little faster than decomposing, and 100% HI.
- irthlingz
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Re: "Faded Blue Memories" cue (not for a listing)
Thank you, Graham. We really appreciate your time, attention and effort both to listen and to comment. We wouldn't put these things up if we didn't want to improve, and that's not going to happen unless we get constructive criticism. === Michael & Sharon ===
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Re: "Faded Blue Memories" cue (not for a listing)
I get a rather disjointed feel from the whole thing , it's almost like 3 AI's in 3 separate virtual studios came up with something that was almost but entirely in the same key and mixed them together.
Graham has given some sage advice which I would echo, it feels like you've been at this quite a while now and you always accept feedback very graciously but I would hope for greater improvement from you at this stage.
Something in your process must not be right as you seem to keep trying over and over but with similar end results which I generally feel are not library ready or broadcast quality. In my work life I spent some years troubleshooting and rewriting company processes for a 100+ employee business. One of the techniques I learned was the 5 whys ( Google it ) which is a way to uncover root causes of faulty processes.
I suggest giving it a try ( it's free after all ..and can be quite revealing ) and see if you can get to the root of why the tracks are coming out the way they are because unless you understand why you can never do anything to remedy it.
Mark
Graham has given some sage advice which I would echo, it feels like you've been at this quite a while now and you always accept feedback very graciously but I would hope for greater improvement from you at this stage.
Something in your process must not be right as you seem to keep trying over and over but with similar end results which I generally feel are not library ready or broadcast quality. In my work life I spent some years troubleshooting and rewriting company processes for a 100+ employee business. One of the techniques I learned was the 5 whys ( Google it ) which is a way to uncover root causes of faulty processes.
I suggest giving it a try ( it's free after all ..and can be quite revealing ) and see if you can get to the root of why the tracks are coming out the way they are because unless you understand why you can never do anything to remedy it.
Mark
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- irthlingz
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Re: "Faded Blue Memories" cue (not for a listing)
Thank you for all this, Mark. I actually just happened across a video that demonstrated the five whys. Trying to remember where that was on youtube ...
=== Michael ===
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Re: "Faded Blue Memories" cue (not for a listing)
There's probably tons of them floating around, but all you really need to do write down the issue and ask why around 5 times to get to the root cause.
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- Casey H
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Re: "Faded Blue Memories" cue (not for a listing)
Hey Michael
You know everything I say is in good spirit. Sometimes it's best to take stock of what you are good at and what you're not, and while old dogs can learn new tricks, some people have a knack for certain things, others just don't.
For example, while I know my way around Cubase for the things I need, I know my ear sucks for pitch, mixes, etc. When I mess with plug-ins, I look at all the controls and both my eyes and ears glaze over. I can barely tell if a virtual instrument sounds realistic (unless it's really bad then I know). I understand how EQ works but ask me if I can discern when I've "carved out space" for something, and you'll get a blank stare. I've autotuned my own vocals, and tuned a word to the wrong note, and didn't realize it. I've heard mixes that I thought sounded great and others will point out that the instruments aren't really in time with each other. And so on. As they say, it's not the gear it's the ear. When you can't hear for yourself what's wrong with a mix, you can't get it right.
But I am good at lyrics and song construction, what is a hook, etc. And also, networking with others for collaboration.
Are you interested in getting back to writing songs as I know you have talent for that? Ignore this if not... Write a song, keep the lyrics fairly universal for Film/TV. Use Robin Frederick's books as a guide for hook and lyrics. Record ONLY a quick, non-produced, guitar or piano and vocal. An iPhone recording is fine. Keep your hands off those dials! If you get a song that has potential, I think you'll find collaborators who will do the production side (No promises, of course). You might have to pay for a vocalist, if you and your collaborator can't sing it well.
Have a great weekend.
Best,
Casey
You know everything I say is in good spirit. Sometimes it's best to take stock of what you are good at and what you're not, and while old dogs can learn new tricks, some people have a knack for certain things, others just don't.
For example, while I know my way around Cubase for the things I need, I know my ear sucks for pitch, mixes, etc. When I mess with plug-ins, I look at all the controls and both my eyes and ears glaze over. I can barely tell if a virtual instrument sounds realistic (unless it's really bad then I know). I understand how EQ works but ask me if I can discern when I've "carved out space" for something, and you'll get a blank stare. I've autotuned my own vocals, and tuned a word to the wrong note, and didn't realize it. I've heard mixes that I thought sounded great and others will point out that the instruments aren't really in time with each other. And so on. As they say, it's not the gear it's the ear. When you can't hear for yourself what's wrong with a mix, you can't get it right.
But I am good at lyrics and song construction, what is a hook, etc. And also, networking with others for collaboration.
Are you interested in getting back to writing songs as I know you have talent for that? Ignore this if not... Write a song, keep the lyrics fairly universal for Film/TV. Use Robin Frederick's books as a guide for hook and lyrics. Record ONLY a quick, non-produced, guitar or piano and vocal. An iPhone recording is fine. Keep your hands off those dials! If you get a song that has potential, I think you'll find collaborators who will do the production side (No promises, of course). You might have to pay for a vocalist, if you and your collaborator can't sing it well.
Have a great weekend.
Best,
Casey
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- irthlingz
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Re: "Faded Blue Memories" cue (not for a listing)
I like that about you!
We have totally absolutely not stopped writing songs!
Yes, yes, yes and yes. (Did I mention yes?)Casey H wrote: βSat Sep 24, 2022 6:13 amWrite a song, keep the lyrics fairly universal for Film/TV. Use Robin Frederick's books as a guide for hook and lyrics. Record ONLY a quick, non-produced, guitar or piano and vocal. An iPhone recording is fine. Keep your hands off those dials! If you get a song that has potential, I think you'll find collaborators who will do the production side (No promises, of course). You might have to pay for a vocalist, if you and your collaborator can't sing it well.
And yourself as well. BTW, hope to see you at the Road Rally! Both Sharon and I are planning to be there.
=== Michael ===
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