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Got two returned for the INTENSE and HORRIFYING INSTRUMENTALS listing.... and scratching my head a little about this. Below is the critique. First track was Frozen Fear which I tried to compose as a drone-like piece and second was Dark Chaos (on Taxi page). I really tried to shape Dark Chaos according to the "Symphony No. 1" by Krzysztof Penderecki example given. I did some synth but didn't think it was that synthy. What do you all think? Hoping to learn how to be a creepy composer from this!

This piece (Frozen Fear) was a bit too synthy sounding for the listing description. Also, it wasn't INTENSE and HORRIFYING which were the first requirements.

The track called, Dark Chaos, was not scary enough. The sounds were too electronic. You might consider rereading the listing description and have a listen to the reference material.. Symphony No. 1" by Krzysztof Penderecki

The Owner of a TAXI Friendly Music Library needs INTENSE and HORRIFYING INSTRUMENTALS that would scare the living day lights out of you. A composition in te stylistic ballpark of "Symphony No. 1" by Krzysztof Penderecki is ideal. Quoting the source: "The tone of the piece will be somewhere between a psychological thriller and a horror piece. I'm looking for anything from simple drones to interesting musical abstractions (severe electric guitar distortion, or simple piano notes). Nothing should sound too synthy. I'm also NOT interested in any melodic tracks of music." Pizzicato strings, blaring horns, dissonant chords, etc., are all elements that will help you capture that terrifying vibe. Be sure you listen to the referenced piece of music to get a feel for the overall vibe. Take note that there are no melodic themes, rather, the piece is atonal and has no real structure.

Hey Dave!

I'm not sure if I agree that the "synthy" sounds were as much a problem as the tempo and atmosphere. The tempo imo was too fast and there were too many things going on. The symphony #1 was 30 minutes long, I think if you compared what was in 2 minutes of his piece compared to 2 minutes of your piece, there's probably like a 1:100 ratio or something. It's not very intuitive to think you might only have 10 notes or so in 2 minutes, maybe I'm exaggerating a little, , but I wonder if the building of tension through maybe two really long dissonant chords that are allowed to totally ring out and decay and the use of a reverb that is more real space than musical, or even a morphing of different atmospheres, might be an example of what they are looking for?? I don't know, I'm just thinking,lol! I think something like this is more soundscaping than musical composition. It seems as if you almost have to shut down your musical intuition and be cognizant of details like dynamics and be careful to not have them "too" controlled by a compressor/limiter, even engaging and disengaging it and note by note settings.

I also thought that there was too much going on and that it was too busy but the ending in the tension at the end we're awesome just my opinion

Peace,
Bob LoGrasso

www.taxi.com/boblograsso

good points. thanks. btw, after a night of sleep... i'm over it! lol

This was a tough one because the reference track was 30 minutes long.

One thing to keep in mind is the listing library (and hence any potential music sups) wanted something they could use for INTENSE and HORRIFYING. In our business, you have to give them that within the first minute (often sooner!) or forget it. A music sup isn't going to wait very long to hear what they are looking for. So you really needed to scare the crap out of the listener pretty early on.

Sometimes it's a bit of a contradiction between the a la references and what you need to do for production music. But the production music side of that usually wins out.

Best,
Casey

I loved Frozen Fear. I think it's a great track and very useful but not for a "INTENSE and HORRIFYING" listing. It would work really well for a listing that said something like "suspenseful" or "tension/fear building". This would be a great track that could/would lead up to an "INTENSE and HORRIFYING" moment. It just wouldn't be the pulse pounding track to take over once that INTENSE and HORRIFYING moment began (if that makes any sense).

That thing has a home, just find the right target

Thanks. I think it might work in an alien/outer space kind of thing. Will add it to my list of tracks to use!

I made basically the same mistake on this pitch. My piece ('Feeling Pendereckish') sounds a lot like Penderecki Symphony #1, and the fact that I was able to do that in a short period made me sort of proud of myself. But of course that's not what they wanted at all! Duh. Kubrick used short bits of Penderecki in 'The Shining' (and 'Eyes Wide Shut''), but what made them sound horrifying was the film they were combined with. If you listen to Penderecki without thinking about Kubrick, it doesn't really sound HORRIFYING, exactly.

I could kick myself for blowing this one.

Oh well, it's not a lesson I will forget.

happy holidays to all

BTW, nice piece daveydad.