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Hey there,

I got some new stuff, please let me know what you're thinking https://soundcloud.com/iktorraus/the-summoning
Be it orchestration, mixing, sampling, composing, critique is always useful.

Also a question that is somewhat related: How do you guys approach longer pieces? This really challenged me, but more in my head, after I started composing without thinking to much about it I was fine.
Great work! I didn't hear near as much Philip Glass influence as I expected based on the first paragraph on the soundcloud page, in my opinion it's not anywhere near the Glass minimalist style. If anything, it made me think of some of the "symphonic poems" from the late romantic era. It really does seem like storytelling, with vivid imagery, subplots, and interludes.
(06-30-2017, 05:18 PM)Michael Willis Wrote: [ -> ]Great work! I didn't hear near as much Philip Glass influence as I expected based on the first paragraph on the soundcloud page, in my opinion it's not anywhere near the Glass minimalist style. If anything, it made me think of some of the "symphonic poems" from the late romantic era. It really does seem like storytelling, with vivid imagery, subplots, and interludes.
Thanks a lot! I guess thats a good thing, everytime I hear a repeting pattern or an appregio that keeps on going I have to think of him. Would you mind dropping some recomendations regarding the symphonic poems? I don't really know much about them, but it sounds interresting.
(06-30-2017, 04:01 PM)Viktor Wrote: [ -> ]Also a question that is somewhat related: How do you guys approach longer pieces?

Longer than 9 minutes? I haven't yet.

I listened to the whole thing. At 9+ minutes, it doesn't sound to me like you need any advice on how to approach a long piece, however, my advice on anything that will take a while to complete, is to focus on continuing to make progress. Don't focus on how long it will take to reach the end. If you are continuing to make progress, you are getting closer to the end. I used that advice when running my first marathon and stripping multiple layers (5) of wall paper off my living room and dining room walls to later repaint both, including the ceilings. Thinking about the length of the task and how much is left to do, would be discouraging. Focusing instead on just making progress, made it easier.

As for your piece. I like it. It sounds very well done to me. Interesting throughout.

My only critique was the very start. I was left with the feeling that I'd walked in to the middle of a performance, as if I'd somehow missed the beginning because it starts with what sounds to me like the end of a decrescendo. I expected some sort of lead in. The music just suddenly starts as if it's already been playing.

That didn't take anything away from my enjoyment of your music. Completing a 9+ minute piece with the quality you achieved, is an impressive accomplishment.
(06-30-2017, 06:02 PM)Viktor Wrote: [ -> ]Thanks a lot! I guess thats a good thing, everytime I hear a repeting pattern or an appregio that keeps on going I have to think of him. Would you mind dropping some recomendations regarding the symphonic poems? I don't really know much about them, but it sounds interresting.

I think you have done well on finding your own sound that is distinct from your influences.

You can learn more about symphonic poems here: https://en.wikipedia.org/wiki/Symphonic_poem

I can suggest listening to Smetana's Má vlast series, specifically Vltava (also known as The Moldau, another name for the river Vltava). The idea of a symphonic poem is that the sounds of the instruments evoke imagery; for example the introduction to Vltava has warbling woodwinds that represent the small streams of water that form the headwater of the river, and other melodies follow that represent other locations on the river.

As you listen, you will notice some repeating patterns, but I would say they are very different than Glass.
I dig it! I'm not nearly as accomplished as most folks here, and I have zero knowledge of classical composers outside of pop culture, but I can picture a lot of this in an RPG, which is high praise for me.
Check the transitions between legato notes, especially with the horns. Some of them have slight discontinuities.

Other than that, I don't have a lot to say. It is absolutely stunning. Goes through what feels like someone's life, and ends rather ambiguously, which I like. Avoiding the grande finale trope makes you feel like the "bottom line" is hidden somewhere else in the piece, which tempts you to listen again. Smile
It sounds like a movie score.  I want to know what's happening on the screen!  Obviously something really exciting and dramatic. Smile
Wow! That is a very impressive piece you got there. At over nine minutes though I can't give you any detailed feedback on the music itself without having listened to it many more times. There's just sooo much stuff happening and it's hard to take in on the first couple of listens. I think the beginning and end could use some more work though. I agree with Paul that the beginning feels rushed. And the end is kind of anticlimactic. After all the dramatic mayhem leading up to it I was expecting something emotional and cathartic but suddenly everything just... trails off. Nonetheless, this is some awesome stuff!

Technically speaking, VVV sounds great on this but I would recommend digging deeper into the reverb parameters. First of all I think the reverb time is a tad too long causing a lot of smear during the busier sections. There's also too much early reflections on the percussion, clearly audible on the part beginning at 6:04, where you're getting an odd sort of slapback effect.
Thanks to everyone for the overwhelming positive feedback!

(07-04-2017, 10:15 PM)Otto Halmén Wrote: [ -> ]Check the transitions between legato notes, especially with the horns. Some of them have slight discontinuities.

Other than that, I don't have a lot to say. It is absolutely stunning. Goes through what feels like someone's life, and ends rather ambiguously, which I like. Avoiding the grande finale trope makes you feel like the "bottom line" is hidden somewhere else in the piece, which tempts you to listen again. Smile

Thank you Smile Yeah good point with the legatos, I think just making the notes longer might fix that. The problem with my ff horn brass patch is, that it is not at its fullest right at the beginning, dragging it more to the beginning never got me a really satisfying result.
I like that you and Matthias came to totally different conclusions regarding the end Big Grin

(07-05-2017, 11:34 AM)Mattias Westlund Wrote: [ -> ]Wow! That is a very impressive piece you got there. At over nine minutes though I can't give you any detailed feedback on the music itself without having listened to it many more times. There's just sooo much stuff happening and it's hard to take in on the first couple of listens. I think the beginning and end could use some more work though. I agree with Paul that the beginning feels rushed. And the end is kind of anticlimactic. After all the dramatic mayhem leading up to it I was expecting something emotional and cathartic but suddenly everything just... trails off. Nonetheless, this is some awesome stuff!

Technically speaking, VVV sounds great on this but I would recommend digging deeper into the reverb parameters. First of all I think the reverb time is a tad too long causing a lot of smear during the busier sections. There's also too much early reflections on the percussion, clearly audible on the part beginning at 6:04, where you're getting an odd sort of slapback effect.

Thank you, I think you're right regarding my use of VVV, i already changed my go to setting a bit and made it a lote more drier (and stopped using modulation, I love that sound but there is only so much space). I think I need two sets of reverb for songs maybe, one for the softer, wide parts and on for the more hectic parts.

In my head I think it makes sense that I didn't get more extreme in the end, but I think you're also kind of right and I really should watch out for an overall arc of suspense that goes through the whole song and not just single sequences.


(06-30-2017, 06:16 PM)Paul Battersby Wrote: [ -> ]
(06-30-2017, 04:01 PM)Viktor Wrote: [ -> ]Also a question that is somewhat related: How do you guys approach longer pieces?

Longer than 9 minutes? I haven't yet.
Thinking about the length of the task and how much is left to do, would be discouraging. Focusing instead on just making progress, made it easier.

As for your piece. I like it. It sounds very well done to me. Interesting throughout.

My only critique was the very start. I was left with the feeling that I'd walked in to the middle of a performance, as if I'd somehow missed the beginning because it starts with what sounds to me like the end of a decrescendo. I expected some sort of lead in. The music just suddenly starts as if it's already been playing.

Thanks a lot, I think thats a good life lesson in generell! The problem is that I also have to have in my mind how everything has to sound together and not every part on it's own, that was kind of my mistake doing that piece. But I think thats more for editing. I think you and Mattias are right regarding the start, I think just some introducing cues or timpani hits would have done the trick to get it more a sense of beginning.

(07-05-2017, 03:38 AM)peastman Wrote: [ -> ]It sounds like a movie score.  I want to know what's happening on the screen!  Obviously something really exciting and dramatic. Smile

Thank you Big Grin It's mainly stuff about wizards that I had in my head.

(07-02-2017, 08:06 PM)Lord Thayer Wrote: [ -> ]I dig it! I'm not nearly as accomplished as most folks here, and I have zero knowledge of classical composers outside of pop culture, but I can picture a lot of this in an RPG, which is high praise for me.

That is a high praise to me too, I'll take it, thanks a lot.

(06-30-2017, 07:47 PM)Michael Willis Wrote: [ -> ]
(06-30-2017, 06:02 PM)Viktor Wrote: [ -> ]Thanks a lot! I guess thats a good thing, everytime I hear a repeting pattern or an appregio that keeps on going I have to think of him. Would you mind dropping some recomendations regarding the symphonic poems? I don't really know much about them, but it sounds interresting.
I can suggest listening to Smetana's Má vlast series, specifically Vltava (also known as The Moldau, another name for the river Vltava). The idea of a symphonic poem is that the sounds of the instruments evoke imagery; for example the introduction to Vltava has warbling woodwinds that represent the small streams of water that form the headwater of the river, and other melodies follow that represent other locations on the river.

As you listen, you will notice some repeating patterns, but I would say they are very different than Glass.

Thanks for the info! I defintly hear them and they kind of sound glassy to me, it goes to show, that I now hear him really EVERYWHERE and also that he is not the inventor of repeating patterns.
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