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AngelCityOutlaw

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AngelCityOutlaw last won the day on October 12 2018

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About AngelCityOutlaw

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  1. AngelCityOutlaw

    Woodland Wonders

    Thanks. The strings are cinematic strings 2 and the vocals are the Era II Vocal Codex
  2. AngelCityOutlaw

    Star Genesis

    Compositionally, I find it fails to establish any strong thematic material that my ear really latches onto. That's kinda the main thing there. You also have a lot of orchestral elements unnaturally subdued. Like your brass is way too quiet and in the back and a lot of the string ostinati are very indistinct. I'd say the biggest thing though, is the synths. Now, I don't like synths at the best of times, but personal bias aside, they don't fit with the otherwise modern aesthetic the tune has. The kinds of sounds would've worked in the 80s or early 90s, but now it just sounds cheesy and old. I'd argue they always sounded cheesy. If you swapped those synths for more modern patches, it would sound better in terms of timbre and more contemporary...for a few years yet, anyway.
  3. AngelCityOutlaw

    Soarin' With St. Nick: Merry Christmas!

    Hey, thanks!
  4. AngelCityOutlaw

    Soarin' With St. Nick: Merry Christmas!

    Hey, thanks. Yeah, I have in the past.
  5. Giving some Christmas-movie type of score a shot. Merry Christmas!
  6. Hey. A mischievous sort of adventure tune of mine inspired by old, animated movies and fairytales.
  7. AngelCityOutlaw

    We're off - orchestral soundtrack

    I like it! Great use of the percussion as well.
  8. AngelCityOutlaw

    Woodland Wonders

    A tune I composed for a virtual instrument contest. It's fantasy inspired. You know the obligatory scene in fantasy works where there's like a waterfall in the forest and some absurdly-hot woman, probably an elf, showers under it? That was what I was going for.
  9. AngelCityOutlaw

    Epic music soundtrack

    The opening with the narration reminds me of Conan The Barbarian Anyway, I don't generally do much in the way of criticism, but what the hell: I would say that the tune doesn't feel "epic" to me. Your harmonic progression perpetually feels like it's building up to something, but when it loops back on itself like that, jumping back down to the tonic, it quickly kills the excitement. A progression like that is best used toward the end of a theme. Consider that around the 1:08 mark, you have this section where most of the other stuff drops out and you have that string ostinato; this would be an excellent place for measured tremolo. It also feels like this should be a section where we get a moment to breath and a sense of relief from all the action, but because the dynamics and orchestration are so consistent, it just doesn't deliver. Another issue is a lack of movement and rhythm: a very common problem in modern orchestral music. You have a lot of sustained notes and basically your only sense of pulse comes from that ostinato and the drum hits. I would definitely use more articulations. A big problem affecting the overall piece is a lack of variety and dynamics. The whole thing is hovering around roughly the same dynamics and is mostly the same ideas repeated throughout. Not something I associate with "epic". Most epic pieces of music start with a simple theme, orchestrated to sound tiny, and then re-introduces it later in a larger, louder orchestration. It sounds like you're trying too hard to make the whole thing feel "big", but in doing so, you have the opposite affect. Remember, without small there can be no big — and yes, that is what she said. Anyway, here's an example of something that illustrates the dynamic and orchestration "build" with larger reprisals that I'm talking about.
  10. AngelCityOutlaw

    Perendinare

    Good stuff, Luis!
  11. AngelCityOutlaw

    Perendinare

    Good stuff, Luis!
  12. I'm going to be honest with you: I don't care what you think about the length of the piece. Most of the tunes I share here are demos that go on my website. When potential clients come to me, they don't want to hear a 4-minute epic from someone whose music they've never heard. Rather, they just want to know style, if I can actually write a decent tune, etc and if they don't like it almost instantly, they shut it off — I think most who'd listen here are probably of like mind. Secondly, sample demos for music like this, where it's all about the melody, shifts instrumentation continuously, etc. takes a lot of time to make even for a piece this long; it's not something like what a lot of YouTube composers do, where they fire up a legato patch, play some chords with the left hand, add an ostinato, and have a repetitive piece of 3 minutes in less than an hour. Thirdly, between normal life stuff and currently working on the soundtrack to a horror game, I don't have a tremendous amount of time to work on 3+ minute tunes for fun. Lastly, I prefer shorter tunes anyway. I expect this feedback because I've shared it in a place where you find EDM artists and as I believe you are yourself, concert composers who have the liberty of spending indefinite amounts of time to develop pieces of music, but I still see the time criticism as largely irrelevant all the same. Thanks a lot Luis.
  13. I did not, actually. However, I am working on a witcher-themed track for Halloween.
  14. In a previous tune I'd shared, I originally had this highland sort of section, but it didn't vibe with the rest of the track, so I made it into its own little thing instead. I'll probably swap out the folk instruments with the equivalents from Era II at a later date.
  15. AngelCityOutlaw

    Limit, epic orchestral piece

    I would hope you'll add more of the orchestra. Right now it's mostly strings; there are no brass or wind instruments, or driving percussion. On the note of the strings, I would say that your samples aren't really working here. The low end is too loose and the staccato/spiccatos don't have nearly prominent enough an attack. I think that one percussive sound are Col Legno, but they sound quite "machine gun" to me. As for frequencies, I'm not quite sure how "cut & boost" with an equalizer became conventional wisdom, but I assure you it is not a solution for mud in all but the most extreme scenarios, and only regarding an individual instrument compared against itself. Applied to an arrangement, at best, this method of "cut one frequency and boost in the opposite" will result in certain aspects (and not always desirable ones) simply being louder and adding a pseudo-clarity to those parts of the sound. The simple fact is, 9.9/10 times the only real solution to frequency masking is better part writing. When two sounds occur in unison, it results in a doubling; neither sound is especially distinct, in certain combinations. As such, the solution is easy: Don't have two different parts playing in the same pitch range if they're not supposed to be doubling. You will be at the mercy of physics here. As I always tell people regarding mixing: There honestly is no such thing that differs from arrangement, composition and orchestration. There was a time even recording music wasn't possible, let alone equalizing it, and composers still got perfectly clear, balanced "mixes" anyway.
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