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Everything posted by Sil

  1. At 1:30 instead of just staccato flutes playing the ostinato you could double them with oboes, and then clarinets and bassoons doubled down the octave. If you're brave enough you can try some other intervals here (3rds and 6ths). One thing I like to do is double winds with light harp plucks for added definition and color. Might be an option here. The horn here (or is it a trombone) is kind of lonely. You could double it down the octave with tuba. The timpani hits could be doubled with cellos and basses playing staccatos in octaves (I often use spiccato patches for this.) Yo
  2. For those long trombone notes you will want to add shape to them. You can usually accomplish this by drawing a velocity curve. For these notes you will want to start at 100 and draw a U shape. In regular notation this would be marked fp cresc. The start of the note will curve downward steeply, but gradually rise up to the end. I don't know if it was intentional or not, but you stumbled upon the opening of Prokofiev's October Revolution Cantata, so I'd say download that score and do what he does with the trombones.
  3. Is it too late for me to "upgrade" my track? I've made significant improvements in both the arrangement and sample quality, so it would definitely be worth it.
  4. It was never posted here. I just had it available on my website.
  5. I can do Rumbling if you're looking for a simple orchestral arrangement.
  6. Isn't the chord in question Gb7/Fb? (Gb7 with an Fb in the bass?) This sounds like it's the first half of the common pop progression that would go: Fb Gb7/Fb Ebm7 Abm Because that's a lot of flats, transposed to A minor it would go: F G7/F Em7 Am The two chords in the DT song at 12:04 sounds like the first two chords of this progression.
  7. Are there any plans for a soundcloud-like ability to upload WIPs directly to the site in order to springboard ideas off of the community? Perhaps something with version control to make project WIPs more manageable (ideally with private and public settings.) I always thought it would be neat to tag timestamps in the waveform with constructive criticism. I think it would motivate people to give more feedback and finish more remixes. It would give newbies more opportunity for learning while letting experienced remixers show off what they're currently working on. At the very least it would help
  8. I'm really loving the ELP influence in Demon, Fiend & Goddess. That and the Queen-style rock opera in The Impresario and the Morricone-style spaghetti western influence in A Fistful of Nickels make me think if Uematsu ever hears this he's going to be like "Yeah, that's what I was going for all along." It's crazy how he had this all figured out 20 years ago back when many of us were in grade school. That to me is true genius.
  9. I'm interested to know what happened there. Is there some backstory?
  10. Lol, we wanted to show off two of the faster bits, so I guess it's easy to conclude the entirety of the 12 or so minutes might be similar, but it's not. There are plenty of tempo changes and I can assure you that the first part of the piece is very much the march we all know and love, and then it undergoes several variations and transformations.
  11. Instead of long sustained notes for the harmonies, you should have all the instruments play the same rhythm as the snare. There's really no reason to have sustained notes in a march. If this is a piece for beginners have all the low brass (trombones, euphonium, tuba) and bari and tenor saxophones and other low winds (bass clarinet, bassoons) play the same rhythm in two octaves. This will give the performers the confidence to really get into their parts and make the piece sound great. The timpani can play the tonic in the same rhythm until the harmony reaches the dominant. Once you've esta
  12. I got the abrupt transition idea from listening to the 3x3 Eyes OST. I wanted to get a soundtrack-ish feel without having to make two separate tracks, but that's kind of what it is in the end.
  13. It's been a while, but does anyone have the gig file I made (suzu.gig)? I forgot to back it up and I need it for a project I'm working on.
  14. That chord build up (called a cascade) is actually a reference to a famous piece by Prokofiev, or should I say, famous selection....
  15. I went to school with a Zac Spruthasa. Yes, that is 4/9 but you weren't supposed to get that yet because that part hasn't been recorded yet.
  16. Excellent, you got two of them. Rite of Spring actually appears near the end at 4:28.
  17. Come on, doesn't anyone recognize anything in this? I worked hard to rip off as many composers as I could here.
  18. Elfman's Batman theme is taken from Bernard Herrmann's 1959 score to Journey to the Center of the Earth. I think Elfman admitted this in an interview but it was a while ago.
  19. You're right in that much of what is being mentioned here are rearrangements of melodies and not leitmotifs, but I think the original intention of the thread was to identify those soundtracks where the composer ingeniously incorporated the themes in more ways than just one. So yeah, these aren't leitmotifs at all because they're too long and too melodic. If you need a good example of a leitmotif, Star Wars has a few. In Star Wars the Imperial March is not a leitmotif in itself no matter how it is rearranged, but the motivic cell G Eb Bb G is also used at the tail end of Anakin's theme in The
  20. Of all the leimotifs I've heard, Final Fantasy Tactics is the most... leitmotivic. *cue bagpipes*
  21. It's called a suspended cymbal. Well, actually it is a cymbal roll played on a suspended cymbal but you can also call the effect a "suspended cymbal" if you wanted to.
  22. It IS a great remix; one of my best orchestrated ones yet. It's already over the bar in terms of both arrangement AND sampling. Of course if you focus on the shortcomings, you're not going to like it as much. It's going to seem like it could be better. Like we're holding out on some special sampling technique that magically ups the realism (aside from the reverb issue.) The impression I get from the judges isn't "this sucks compared to Valse Aeris" but "we can't post this until it's 100% where right now it's hovering around 98-99%." They want it to fly over the bar instead of just inch o
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