I think it has something to do with the amount of suspense/buildup/mystery/romance lacking in movies these days. Movies tend to move pretty quickly towards the big action scenes, so you don’t really need brooding bassoons foreshadowing events or lighthearted flutes anymore, but even if they just doubled some of the horn lines or string melodies it would fill out the sound a little. I guess they need all that extra sonic space for all the extra percussion!
Good point. I love the Hitchcock and Herrmann combo—Vertigo, Rear Window, North by Northwest, Psycho, etc… In fact, it is arguably the best Composer/Director combo in Film History. As far as I remember, there were a lot of woodwinds and such in those scores (well, strings were the big star in Psycho lol), but also the big brass and percussion when appropriate. The spiraling themes of Vertigo are just fricken spine tingling (I’m getting goose bumps just thinking about it). Though Citizen Kane is arguably Herrmann’s best score, I still love Hitchcock and Herrmann together.https://www.youtube.com/watch?v=kC5AzFc3coo
Ol’Bernie knew how to milk those strings.
TortoiseTree saidI think it has something to do with the amount of suspense/buildup/mystery/romance lacking in movies these days. Movies tend to move pretty quickly towards the big action scenes, so you don’t really need brooding bassoons foreshadowing events or lighthearted flutes anymore, but even if they just doubled some of the horn lines or string melodies it would fill out the sound a little. I guess they need all that extra sonic space for all the extra percussion!
When I think of Hollywood sounding scores, woodwinds that have that “big Hollywood sound” don’t really come to mind, you know? Maybe partly because modern Hollywood scores no longer use woodwinds But they don’t sound that bad in the demos…
+1 It is interesting to see how the flute/oboe/clarinet fell out of favour for film scores. I sometimes watch movies from before the 80’s and see the woodwinds playing a strong roll (especially in British films LOL) but less and less as the years go by.Mind you, one film score I really liked that did use quite a bit of woodwind was the one for the two new Star Treks. Whilst the main melody is played by horns, the woodwind theme backing it up is also pretty sweet.
I think bass traps help a lot and they seem to be cheaper these days than I remember. I have a wedge shaped one that fits into the corner directly behind one of my monitors (I know, I know never put monitors in corner but sometimes you don’t have a choice!)
But if you can’t afford it, you can’t afford it. Congratulations on your purchase of monitors – I always do all the panning/reverb/rough eq stuff with headphones and then finish off the eq and adjust everything with monitors until the mix sounds good on both.
This is quite good for a more classical approach – I’d recommend dipping in and out of it though, it’s not something to read cover to coverRecording revolution guy looks really good – will check out some if his stuff now
+1 Really opened my eyes to orchestral “coloring”.
As far as actual audio production, I don’t know, it’s sort of weird isn’t it? I mean, I can put in a professionally mixed and mastered cd and think, “wow, this is mixed really middy” but maybe it works for that genre (rock or punk.) I can put in another cd and think “wow, this sounds way too compressed and the bass is making it all sound muddy,” but maybe that’s the standard these these days? I think mixing/mastering is just like everything else; there are trends, things change, ect. I think once you find what works for you and your music there you go! Balance that with what AudioJungle wants (because it might not be the same thing). I’ve learned a lot over the years, have a nice bag of tricks, and there is always more to learn, always more tips and tricks, but at the end of the day it’s more art than science and just using your ear and knowing what you want the mix to sound like, and knowing what needs to be cut, boosted, altered, or fiddled with.
Hmmm that does seem like a good deal. As far as I know the big deal with the Hollywood stuff is that the patches just take forever to load, but if you are loading a full virtual orchestra it is going to take forever to load anyway IMO. As far as the woodwinds…if you already have some nice woodwinds I would just switch it out for something else. When I think of Hollywood sounding scores, woodwinds that have that “big Hollywood sound” don’t really come to mind, you know? Maybe partly because modern Hollywood scores no longer use woodwinds But they don’t sound that bad in the demos…
As far as RA gos I think anything can be useful if properly mixed and used correctly.
Hmmm I guess it depends where in the world you live. I don’t know if it is possible to make a living especially considering how big the market is and how many people are in it. Digital commodities are fun but now that they have grown up it is easy to see that each market can become saturated rather quickly…supply and demand type thing. Most of us will probably have to be content with extra income.
I would just use the wave files if everything is fine in terms of performance.
I think more certain composers influence me, but music is sort of cross-pollinating anyway. I think more it’s the other way around where certain compositions demand certain instruments and tones. Right now American pop music is pure garbage so that is definitely not influencing me, but I like Jazz and would probably work banjos and harmonicas into things if I had them around. Ben Franklin’s Glass glass Armonica is pretty fascinating, and of course, the electric guitar is pretty ubiquitous.
American folk music is nice but modern country music is not very good.
Nice. Great Idea. Here’s a composition I made that I never even tried to upload to Audio Jungle.