Blue - Post 2

R&D

I find this kind of music easiest to navigate. The majority of the information is in the velocity/feel, not necessarily just what you play. With this panoramic landscape image in my head I began brainstorming ideas for instrumentation, and subsequently the peaces "feel".

Like with a few of my other project, my research was based upon listening not reading. Like anyone reading this, I have an opinion on what a cinematic experience is. In my opinion; it's not just a large silver screen supported by some sound, but more waves of audio colours that paint a visual and audio picture as one. A larger dynamic range than that of consumer music, it's deeper and more spacious. Emotive is a great word for it. I like to make music that dosen't need words but can still convey a thought or a message.

I did some research on Hans Zimmers compositional techneques. He made a point about creating dramatic effects, one of which is walking the tenor strings and horns up the scale towards the end of the bar and then summarising the last note the octave below. It's a very dramatic effect and it can work on promoting many different emotives.

For example, my treble clef piano line uses octaves to build the melody. With a low velocity and a delicate touch on each key, I like to think it provokes a sorrowful emotional response (especially during the last 8 bars). On the flip side, Hans Zimmer uses this same technique but to create awesomeness! He's says he builds up his cellos and tenor brass instruments, and at the end of some Batman unveiling or some epic car chase, drops an octave.

Here's a link to one of the many videos I watched explaining the technique.

Blue post 2: News

My picture wasn't awesomeness and epic fights. I wanted a softer picture with less darkness (unlike Hans Zimmers Dark Knight score). I developed the track from the piano line up with my landscape picture in my head. I went with the cello, and with a mild percussive sound as my starting point. I played the MIDI strings in the DAW and I let my hands play the notes. Not editing them at all in the piano roll as I wasn't going for a robotic feel. I want it to sound as real as possible. In the ideal world I would have recorded every element of this track and would have not done all of this at home. But time and resources dictate the production of this song... and I don't know anyone who can play the harp or cello.

My prized gem - the bass sweeps - was a key element. I wanted to feel like I was at the cinema; the lights go off and then the music begins. It's tough to articulate, but anyone who's been to the cinema knows what I mean. It's meant to create an atmosphere thats full of excitement... I think I got close.

I had discussions with people about the lower string section that is introduced during the opening few lines. Concerns were voiced over wether or not any strung instruments could actually play that low (a concern worth raising as not all VST's follow the rules imposed on real life instruments). I worked out it was theoretically possible for all the strings in this track to be played live but I explained that I wasn't trying to follow the rules. It wasn't exclusively a part for strings. I wanted the frequencies to build my low mid and was fortunate to find the timbre of the VST I chose worked a treat.

The piano line was strong and as the track built up so did the pianos velocity, but it still didn't sparkle enough. I programmed a harp to play the exact same line as the piano and mixed the two together. This resulted in a more pronounced and clearer melodic line.

Back to "Blue"

Blue post 2: News

R&D

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The piano line was strong and as the track built up so did the pianos velocity, but it still didn't sparkle enough. I programmed a harp to play the exact same line as the piano and mixed the two together. This resulted in a more pronounced and clearer melodic line.