DYNAMICS

Dynamics in general (samples) (lack thereof, unrealistic etc)

Use crossfade velocity layer programmed patches as the primary way to gain realistic dynamics. Volume should be reserved for balancing the overall mix not creating dynamics except in rare cases. Use automated low pass filters for additional dynamic control. This works really well on brass and electronica elements but not too well most other places. Short patches like staccatos and percussion work well just with regular velocity controlled dynamics. Dynamics are the absolute number one key to realism so proper manipulation is vital. In many cases you may simply need to program in more dynamics.

IMPROPER SAMPLE/PATCH

Improper or non-ideal sample/patch selection

Make sure you are using the best patches for the job. For example you might have a solo cello where it should be celli section or it should be a very specific patch such as Sonic Implants up/down bow long notes.

NOTE TRANSITIONS

Note to note transition problems (very common)

Increase release time in strings, use performance legatos from VSL, slight overlaps between notes, higher velocity layers for less of the "pumping effect"

ATTACKS AND RELEASES

Attacks and releases ragged and unmusical (very common)

Carefully shape the volumes of attacks and releases, increase release time of strings, use crossfade patches so you can realistically shape the dynamics of the attacks and releases.

THECONTEMPORARYFILMCOMPOSERPitfalls&Solutions

SIMULATIONPROGRAMMING

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MACHINE GUN EFFECT

One of the biggest banes of realistic mock ups.

Use repetition and alternation patches available in almost all libraries including percussion libraries. Use accents and velocity variations. Layer on other sounds. In extremely important cases (like the main titles or some other vital cue) there are very advanced solutions that can be done with pitch shifting, eq, etc., but these are very time consuming and don't always even work.

SAMPLE PUMPING

This occurs when there is a slight crescendo on every note and is extremely noticeable in string section samples where it is natural for the first note of a phrase to be played in this fashion especially at soft dynamics.

Edit the samples so they start later, (VSL has this built in to some of their samples), use VSL performance legatos, use volume or modwheel to create the reverse dynamic (an accent), use longer notes thereby increasing the time between pumps and making it less annoying, use higher velocity layers in general (the higher velocities tend to have less swell and more attack), layer with something with more attack, overlap the notes, increase the release time (strings only) .65 seconds is about as long as you want to go and helps in these problematic cases.

SIGNAL FLOW

Signal flow, dsp, noise, comb filtering, phasing, dither and other pre-mastering issues.

Sometimes mixes are indefinably dirty sounding. It can be a result of poor D/A, poor dsp effects, improper panpot, noise from lousy sound cards, bad mp3 conversions, and many many other minor hard to diagnose issues. If you can rat out any of these problems it's really helpful because it can improve all of your future output.

BAD SAMPLE SOUNDS

Our suggested libraries are:

1. VSL Special Edition: for performance legato of all instruments, and woodwinds in general. Also good for harp, some percussion, good strings if used with other libraries to supplement, great trombones, Epic Horns (vital!) 2. Symphobia for staccatos, huge impact sounds, special effects, low brass, some string sustain sounds 3. Sonic Implants Strings 4. Sam Truestrike, Storm Drum 1 & 2 5. FM8 for synths 6. WIVI for brass (needs Altiverb and good programing skill, very advanced program) 7. Sam Horns 8. Guitar: (Ministry of Rock, Trilogy, Guitar amp), Yellow Tools Pure Guitars (acoustic). 9. Drum Loops: Stylus RMX, Storm Drum 1 & 2, Abelton, Battery, etc.

REVERB

Reverb (washed out, no sense of space, too dry, to diffuse, too present)

We recommend Altiverb. Make sure you are getting the proper sense of space, given the genre. For example, for a big space opera you'd want a fairly diffuse large hall sound, for a tense action fight a tighter drier more impactful sound.

ENGINEERING

DRUM LOOPS

Non-varying drum loops

Only use drum loops that either have layers, or are editable in some way so that they can be varied and be customized to picture. Sometimes it's tempting to cut corners and just use one loop the entire time. Custom programmed drums are a much better solution as long as they are well produced. If not, drum loops are actually preferable.

EQ PROBLEMS AND SOLUTIONS

EQ problems and solutions, thin, buzz-saw effect strings, brass, presence/diffusion, bass shaping

1. Thin may be the result of a poor mixing environment and sometimes the improper use of eq. We recommend more surgical use of EQ or no EQ at all (good place to start) 2. Buzz-saw strings (a common problem) may need surgical EQ to remove the horrid frequencies that exist in some sample libraries especially in the upper frequencies of the low strings. 3. Certain brass libraries (mainly VSL) also have offensive frequencies. Also brass can be manipulated in a realistic way by EQ for better dynamics (Altiverb stage position has some great sounding ways of dealing with both brass and string buzz saw nastiness) 4. Sometimes we need more presence or diffusion and both can sometimes be solved with EQ (Altiverb adjustments can also solve these issues) 5. Bass shaping, as long as you are on a good speaker system with accurate bass response, you can get in there with some EQ or levels and adjust some frequencies if needed.

OVER COMPRESSION

Over compression, brick wall limiting, distortion, compressor pumping

There is simply no need for extreme dynamic compression in film music. it's going to be combined with other sounds so it doesn't need to be "competitively loud." A little compression is fine for creative reasons but too much is harmful to the quality of the sound. A limiter for level is fine but not for the purposes of producing a "loud" mix.

USING LOOPS & FX PATCHES

Music based on pre-existing drum loops or effect patches is likely ill-fitted for the scene

Sometimes you get lucky and find something that fits, but if it's not customizable you are going to be handicapped. It may sound great, but its probably poorly suited for the scene because it's pre-existing material. Nothing beats custom programming/writing.

PRODUCTIONQUALITY

TOO BUSY, EGOTISTICAL WRITING

Film music isn't about the composer's prowess, it's about making the scene work, and the more common problem is too much writing rather than too little. Keep trying to serve the scene not yourselves.

MUDDY ORCHESTRATIONS

Muddy, thin, or block chord/keyboard style orchestrations

Use the overtone series as the fundamental for orchestrations. That is: root, octave, P5th, P4th, major third, minor third, etc. In strings (the most abused section in problematic orchestrations) use only one note per section including Violins I and II. Make sure all instruments are in the same tessitura. This will lead to better blends and also overtone reinforcement. If all instruments are in the same tessitura then they will all be reinforcing each other's harmonic series by default. These very simple tips will take care of almost all orchestration/voicing issues.

QUANTIZATION ISSUES

Quantization issues, chaotic sounding, rhythmically off and other timing issues

Sometimes we want multiple drum loops, but they don't line up. Sometimes composed material doesn't line up with drum loops. Sometimes live instruments (ie: electric guitar) can be a bit sloppy timing wise. The accents of one line don't align properly with accents in another line and it forms a chaotic, disorganized sound. Everything needs to be in the pocket... the same pocket. Watch out for these issues any time you are doing groove-backed music. It's a very common problem and pretty easy to fix in most cases.

LACK OF MOTIVIC DEVELOPMENT

Lack of motivic development, often it is "through composed" without building on the "nuggets", basic lack of re-use and variation.

This is by far the most common problem in terms of composition. Re-using material is extremely important in film music. Everything you introduce needs to be repeatable or it shouldn't be introduced in the first place. The best thing to do is to find one nugget to be the core of the cue and build everything off of that one nugget. If a piece feels unstructured, the reuse of material is the first place to start fixing. Of course, just reusing material isn't enough (see Rule Of Three), it will need to be done in such a way that it gets more interesting each time we hear it, and doesn't bore us - even introducing new material to vary it up as needed.

THE RULE OF THREE

You should not repeat something verbatim more than 3 times unless you are modulating on subsequent repetitions. This is very important for upper motivic ideas and noticeable riffs - anything that the ear notices easily this rule applies to.

GAP FILL PRINCIPLE

If you leap more than a third you need to make a step-wise motion in the opposite direction to fill the "gap" that our ear perceives from the leap. This is not a hard and fast rule but it can be very effective and useful.

COMPOSITION

ABUSE OF "SPECIAL FX PATCHES"

Because we can have an awesome sound from pushing down one key it's a huge temptation even for really skilled composers but using the effect patches pose many problems: They might not fit exactly timing wise, they may be too dense or too thin, they may not fit in with the established sound (of the cue or the score as a whole), they may not be the most effective solution, they are often recognizable for what they are.

We recommend orchestrating a new version with their own sounds, layer with other sounds, use less frequently, use time stretching to conform to correct timings, make sure the orchestration of it makes sense. i.e. no 6 sections of violins and 4 sections of horns. Or simply don't use at all!

PARALLEL MOTION

Parallel motion in bass and lead line voices when not in the context of impressionistic writing.

The only counterpoint rules that matters in film music is between the melody and the bass line - and it's rarely truly problematic - but it's something to listen for when you just hear it sounding off and you not sure why. A good solution often is to use a different bass inversion.

ABRUPT TRANSITIONS

Abrupt transitions, harsh stringers, overly emphasized hit points, hit points vs shifting points

1. Transitions are very important yet many people are happy enough to lay a suspended cymbal roll between two wildly different sections and be happy with their "transition. Much more work needs to be done in connecting two areas of contrast. 2. Stingers should be appropriately balanced with all other elements including what's happening on screen. 3. You may feel the need to hit all kinds of things that actually should be played right through without any needed acknowledgement. 4. Sometimes rather than a hit, a certain moment needs to shift, meaning it needs to dramatically change direction in any area possible (ie: high to low, soft to loud, and many other nuanced shifts.)

ROUGH UNPOLISHED MATERIAL

Rough, improvised sounding, unpolished material

Most people write in a sequencer these days and a common problem is that music will literally sound improvised. It will lack motivic development as in A, be poorly orchestrated, and have some other problems. We suggest going to a sketch pad so the structures needed (motivicly, harmonically, orchestrationaly, dramatically) can all be more carefully thought out

IMPROPER PALETTE

Improper use of palette of prescribed sounds

We always have a prescribed and limited palette of sounds, which helps keep the score more unified. Out of the palette sounds just won't fit into the score as a whole. Anything really unique either needs to be used all over the place in the score or nowhere.