# Working for a movie soundtrack...



## Yoshed (Feb 10, 2013)

Hi !

I'm working on a movie soundtrack (fantastic). I need your comments (sorry, there's no pictures for the moment). It's here :


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https://soundcloud.com/yoshed%2Fsets

Thank you in advance !


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## Morimur (Jan 23, 2014)

Not a fan of film soundtracks but that aside, your work sounds professional and pertinent to a film that probably includes 'hope' as a major theme.


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## violadude (May 2, 2011)

A true and proper criticism of a movie soundtrack would have to include the viewing of the movie along with the music because the most important thing about a movie soundtrack is, of course, the way in which it compliments the movie. Without being able to see how the music fits with the movie it's nearly impossible to judge the music as a movie score. As a piece all on its own it's vapid and doesn't stand up at all, but I don't expect it to because that's not really the purpose of a movie score.

Just my two cents.


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## helpmeplslol (Feb 1, 2014)

Transition from solo harp at the start to loud strings was jarring. Even half a second's warning would smoothen it out.


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## PetrB (Feb 28, 2012)

Seconding ViolaDude's comments.
In so saying, please regard the following as to like a doctor not in any way in love or caring for the patient, but still highly attentive to correcting what ails that patient.

Connection with the scenario unknown, this addresses what I hear musically, and as a sort of suite.

Wherever the strings are used, it is a very fulsome sound, ranging from high soprano through bass. 
You have good sound samples, and it sounds like you have assigned the strings in one lump to the sample 'String Orchestra.'
Even good samples on this setting _are loaded for bear with doublings at the octave._ The string segments sound muddy.
To correct that, comb through and make individual tracks of each of the familial sections _and check the sample envelopes and remove any and all octave doublings_ 
This will then directly tell you 'what you actually have.' At your discretion and will, then, you can add any doublings or other parallel pitches more pointedly to where and how you want it 'full.' 
Quite traditionally, the Basses usually double the lowest 'Cello part. (At times, you may _not_ want that.)

Too, the few bits of winds, flute, horn, seem somewhat arbitrarily dropped in the mix in those string segments, i.e. they sound like a minimal near glib afterthought, and as they are now and where they are, the strings dominate by both thick 'writing' and volume to a degree that about any other instruments used with them are near completely drowned out. This kills what should be of interest in their roles to a degree where they might not be there at all.
I would suggest lowering the amplitude values of the string track notes until those winds / brass are a bit more to the forefront, and then you may find you want to write a bit more in for them. 
Once that is done if you still need / require the greater amplitude, you can ramp the master volume, relieving what is now near distortion sounding.

Maybe there is a filmic dictate for the reason of the first segment's harp barely making it into the following section, where again it goes disperse and gets lost, and again, sounds like an afterthought. Why not carry it more through, either obbligato with the harmony or with a bit of asserted counterpoint of what it first presents solo?

You do better with the metallophone (vibraphone?) at the four-minute mark, but I would suggest (again) thinning out the strings which then enter to a more chamber orchestra dimension, then letting them become fuller if that is 'needed.'

You are consistent in handling other instruments which 'appear' in the same way, i.e. they appear solo, and then are dropped like a hot potato the moment the strings come in.

Re: the choral segments. Personally, I run, duck, and hide whenever this now completely generic style is used, and it will blow any scene for me which anything like underscores. But, hey, that is the movies, and you may have no choice in what the director wants there.


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## Yoshed (Feb 10, 2013)

Thank you !

I only want to submit my music to a constructiv criticism about orchestration (thanks a lot helpmeplslol and PetrB !) and emotional intention.

Thank you again for all your comments !


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