Really lovethe electronic elements, great work especially since you did the sounds from scratch. Plucked instrument, whatever it is, is great.
The cello could use a bit of work (but solo strings is so goddamn hard), a bit of overlap between midi notes and a faster attack. It also feels kinda wrong "in the room", as well - it's a bit too wide stereowise. Maybe use a spatialisation tool and narrow it slightly? The reverb also feels slightly off, I'd DL some solo live cello track and try to recreate that room!
Anyway, all that said, great track.
I just learned how to control the reverb because the solo string library is quite new.
Thank you for the review a lot. And welcome back :) glad to see another awesome face around!
Not really hearing the piano as 12! But it's a tad hard to determine against the synth. Lovely atmosphere anyway, and great pacing of said piano part.
The cello, however, feels rather meandering and mostly just drones on. I'd love for it to have some lines with more of a direction.
Nice, the flute sounds awesome. To me it certainly does feel foresty, primal in a way. Thought the accordeons could have sat a bit better in the mix! But loved that you had them in there.
Where did you get the drum beat inspiration, Garmarna or something like that?
Hey, just got access to computer so took me a while to reply.
Yep, I got the inspiration from Garmarna :P (finally someone understood the music!). The accordeon is a synth so it was difficult to mix.
Thanks for the review a lot :D
Heh I really dig the broad mix of influences and extremely culturally diverse instrumental palette ;) Loved to see some accordeon in there (I play melodeon myself), though I think a little more mids on them would've been nice to give some bite and crispsness to the sound.
When comes to folk music, I try to stay as much close to ethnic setting as possible.
Thank you for your reviews.
Pretty nice overall! You use the tremolos to good effect, and the runs up and down in register are well executed. It's nice to hear someone using brass in lower dynamics.
These are the things I reflected about (more or less in some order of importance):
This is somewhat subjective, but I feel that for a large part of the track, you could use something that glues the orchestration together more. The staccatos, while they provide the drive and rhythmic motor, are pretty naked in themselves. In the first part up to the trombone solo, the highest tremolo covers this role nicely but during the solo, especially since the melody is somewhat jumpy, a bit of glue would be nice - some suggestions, if you want to vary the texture, could be high woodwinds (doubled with strings or not), low woodwinds (bass clarinet would be very discreet) or low brass (though this would be more likely to conflict with the solo role of the trombone). During the classical period, horns and/or bassoons often filled this role, as well as the higher woodwinds. Since you mentioned it in the description - I think you could definitely use the brass to fill things out more, if you want.
I'd watch out with the intervals in the low strings, intervals smaller than a fifth usually sound very muddled in the low registers. In the intro, the last interval (a fourth? bit hard to hear down there) between what I assume is vlc and cb sticks out rather sorely.
One rather boring critique is that the trombone sounds rather synthy when it has the solo - when the brass are combined later, it's easier to accept things as realistic-sounding as there's more stuff going on. It sounds like you did a decent job sequencing it, but it is so very naked in the solo that the patches weaknesses are very exposed - relating to the first point, adding some orchestral "glue" might help things! The trumpet also seems to be very high in register for how soft it sounds - trumpets in the highest register will usually be pretty loud, just one thing to consider when doing midi orchestration since it is after all a recreation of the real deal.
One critique about the composition that I have is that the ending felt rather unjustified - there's no build-up to speak of, nothing that intensifies, so the little trumpet explosion feels pretty silly and out-of-place.
I kinda wanted a stronger bass most of the time, and during the trombone solo, the trombone felt rather loud compared to the strings, but otherwise the mix sounded pretty good.
That's all I could think of right now!
Hehehe. Thank you so much for your review! I'll definitely take these thoughts into consideration next time! And of course, I appreciate you taking some time out of your day to listen to this seriously.
Nice, I really dig the chord progression. The drums, and later the lead, feels overly loud compared to the rest of the track though. A more drastic contrast somewhere in the track would've been nice as well!
Thanks mate. I've fixed up the mixdown a bit, I added some faster modulation towards the end, and I may reupload a new bounce.
Love the chromatic descent! Also loops really, really well on a musical level.
When the rest of the strings enter, I'd have loved to seen more of them since it's a very welcome change of timbre.
Thank you :D
I will admit I wasn't particularly generous on the strings, but I didn't want to be too lavish with them either... :S I guess the sparseness shows.
Sweet, I really dig the use of gliss effects early on. The drums do really get drowned out, though!
Also, the mix feels just a tad weak (I think it's a bit too bassy for it's own good, some multi-band compression might also help), and the ritardando really needs to be smoother (though it can be a pain in the ass depending on the DAW your working with).
It took us forever to get that ritard together, and had a few different options to go with, but ended up with this one. We wanted it to be drawn out just enough to make it uncomfortable. Can't speak much to the mix myself, but it was an enormous amount of tracks to combine. Thank you for the feedback!
Heh, best source of inspiration I've heard in a while!
Pretty sweet track, I really like the pizz. ostinato, the woodwinds give it a lovely atmosphere as well. I'd turn the pizz strings though, especially the double bass, it's kinda overpowering right now. Also, not sure how much you care about realism but the very brassy ("bursting") brass being considerably lower volume-wise than the pizz strings sounds rather odd and unnatural!
I dunno how far you've gotten with this track, but personally I felt it kinda begs to break out in an epic, more lyrical section (which may or may not break off from the ostinato - I'd at the very least change the instrumentation of it!).
I totally forgot how bassy the double bass is. I only noticed it when I took a listen in my car; my headphones don't seem to really pick it up. Regardless, I haven't spent time mixing yet. Currently I'm working on stretching the track a bit... I feel it gets to the point far too quick.
Thanks for the review. I'll take your suggestions into consideration; I can already imagine a choir in the background!
Did not expect the synths but they were a really nice surprise! I also dig the prominent use of the cellos.
A few things I have to remark upon: The key changes, to me sound a bit unconvincing - very sudden key changes are certainly possible, but I think somewhat smoother voice leading (preferably with some contrary motion! really helps in these cases) would make them more musical.
I felt the track lost pace towards the end of the cello/synth section, after that it kept things going nicely.
One last thing - to get that really sweet heroic, fanfaric feel out of your brass parts, I'd look at your two-part writing somewhat (looking up horn fifths might be helpful!) and perhaps look at a couple of classical examples (i.e. "Alla Hornpipe" from Handel's water music") - for example at 2:00, highest notes of the horn/trumpet duet, the 4th between the parts stand out pretty badly.
Anyway great tune!
Lol. I'll be sure to keep all of these things in mind.
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