TAXI.com

I have a question about the term 'developmental arc' and in particular whether the music linked below is maybe on the right track in this respect, also whether there is enough silence between what I sort of intend as edit points. My feeling is that the music develops gradually, but perhaps more ebb and flow, so to speak, is typically required. Any observations and advice on these and any other issues at all would be gratefully received.

https://www.taxi.com/members/nwRU7pygQr ... d-version-

Michael

I think you've got the general idea in how to build the arrangement and have edit point etc.

My main concerns with this cue would be some of the sounds have the dreaded " midi" vibe , the piano sounds a bit plain and clunky i.e. their is no craft or finesse to it.

Also some of the timing in other parts of the track sound a bit off and I think in your final section you should try bringing in some percussion ( if the ref tracks do )

Mark

Here is my typical 90 Second Cue:

Short Intro or even just a drum fill.
A (Establish Mood Straight Away)
A- (Same section but take something out: no melody, less instruments, etc...)
B (Same mood/vibe but change something: new chord progression or new melody)
B- (Breakdown: Everything cuts down to bare bones then slowly start adding and building, until...)
A+ (Reestablish initial vibe but now add something else, percussion, high piano, cow bell, something new)
Stinger ending, something composed and purposeful, usually ending on the tonic.

This has been my go-to formula, ever since watching Matt Van Der Bough's interview at the 2020 virtual Road Rally.
Also, grab a pencil and paper, and take notes while listening to the cues in the forwards blog.
Hope this helps.

Jeff

cosmicdolphin wrote: ↑

Mon Oct 03, 2022 8:12 am

My main concerns with this cue would be some of the sounds have the dreaded " midi" vibe

Mark

Thanks for that observation and reminder. A few months ago, I was introduced to the importance of counteracting what could be described as the danger of achieving unnatural precision associated with composing on computer as compared to having real people play real instruments. I learned about automation, mainly midi expression and modulation when inputting and also the 'humanise' function when editing, so as to move the music subtly away from being too precise and robotic, while appreciating/learning that music in the box is best termed a 'mock up'. It would seem that I should reflect on these matters more when playing in and editing midi tracks. There might also be a radomise function (?) to assist in this process. So your comments will certainly prompt me to concentrate more on these aspects, given that I have very little or no recourse to organic instruments in this type of music.

Thank you again for your critique. Food for thought and very much appreciated.

Cheers
Michael

Telefunkin wrote: ↑

Mon Oct 03, 2022 12:32 pm

Much discussed topics .

Just as an aside, the final horns(?) jump way above the mix and would benefit from being more controlled (although their sound is quite synthetic and unrealistic, so a better sound would help too).

I agree with what you say here. I will bring these instruments down in the mix. I currently rely mainly on East West sound libraries, but I am thinking of trying another brass library, such as Cine Brass(?) or maybe layering some sounds to see if this leads to an improvement.

Cheers
Michael

MJLeeman wrote: ↑

Tue Oct 04, 2022 12:47 am

I learned about automation, mainly midi expression and modulation when inputting and also the 'humanise' function when editing,

It's partly that but especially with piano it's about playing it expressively to begin with, I felt like these had either been quantized or drawn in somehow...not played by a person.

jefflaplante wrote: ↑

Mon Oct 03, 2022 2:01 pm

Here is my typical 90 Second Cue:

Short Intro or even just a drum fill.
A (Establish Mood Straight Away)
A- (Same section but take something out: no melody, less instruments, etc...)
B (Same mood/vibe but change something: new chord progression or new melody)
B- (Breakdown: Everything cuts down to bare bones then slowly start adding and building, until...)
A+ (Reestablish initial vibe but now add something else, percussion, high piano, cow bell, something new)
Stinger ending, something composed and purposeful, usually ending on the tonic.

This has been my go-to formula, ever since watching Matt Van Der Bough's interview at the 2020 virtual Road Rally.
Also, grab a pencil and paper, and take notes while listening to the cues in the forwards blog.
Hope this helps.

Jeff

Thanks for posting this, Jeff. I am sure that the information will provide a useful way to analyse cues and also for learning maybe how to start from scratch with a good format, rather than writing and finishing something which is sort of in the ballpark, then trying to make it fit the mould.

In general, given the above advice and the info from others above on this topic, I am now clearer on the meaning of ‘developmental arc.’

Michael

.

crashgates wrote: ↑

Thu Oct 06, 2022 1:49 am

https://youtu.be/v3mprvMm6BA?t=3911

go to 1:05:00 mark

Thanks for that, CG.

I have seen quite a few examples of when Mr Laskow refers to or describes this term. This one which you have shared is very concise and possibly the best that I have seen on the topic. So, thanks for taking the time to post that. For what it's worth, while not seeking to trivialise the importance of the creative process, my developing opinion is that a successful cue probably depends more on the developmental (or perspiration) side of things, which can be learned/taught, rather than the original inspirational subjective idea, which often doesn't need to be anything more than straightforward.
Cheers
Michael

Telefunkin wrote: ↑

Mon Oct 03, 2022 12:32 pm

Much discussed topics .

Just as an aside, the final horns(?) jump way above the mix and would benefit from being more controlled (although their sound is quite synthetic and unrealistic, so a better sound would help too).

Thanks TF

I have done what you recommend ('would benefit from being more controlled"). It does seem the right thing to do, to bring the high brass, specifically the trumpets/piccolo trumpet down at this point, as the sounds still pierce through the mix with the fader dialled back. Re your comment "their sound is quite synthetic and unrealistic," that confirms for me that I might maybe need to look at another/other Brass library/libraries, and reduce my current total reliance on East West Hollywood Brass.

Cheers
Michael