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bryla

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bryla last won the day on August 28

bryla had the most liked content!

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30 Excellent

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About bryla

  • Rank
    Starving Musician
  • Birthday October 27

Contact Methods

  • Website URL
    http://www.bryla.dk

Profile Information

  • Biography
    Born, raised, playing music
  • Gender
    Male
  • Location
    On the countryside
  • Occupation
    Musician, music teacher
  • Interests
    Japan
  • Favorite Composers
    Mozart, Beethoven and so on
  • My Compositional Styles
    The ones that fit
  • Notation Software/Sequencers
    Sib7, Logic8
  • Instruments Played
    Keyboards and Theremin

Recent Profile Visitors

3,219 profile views
  1. bryla

    You And I

    Thanks, Hughes! I've played this kind of music since I was a teenager so it's sort of natural to me 🙂
  2. I'm always working for a client. Delivered a score today actually. I actually don't know what takes the longes. I take my time to come up with the concept and then just go to work with arranging and orchestrating. I make sure to take plenty of breaks and I actually think that's the reason I don't get stuck. The hardest part is waiting for feedback. You wait in a limbo because you don't really know what to do with yourself and how long you've got till your next sprint.
  3. bryla

    Orchestral demo reel

    This one is specific to the large stuff. I’m making other reels for different genres and styles. That way it’s easy to pitch for projects.
  4. bryla

    Orchestral demo reel

    Thanks @Luis Hernández and @Rabbival507 The point of a demo reel is to showcase shorter pieces of certain styles to pitch on projects.
  5. Hey guys, I've compiled my orchestral demos into one playlist with what I call 'epic fantasy adventure majestic' – so anything with a big sound. If you care to listen though I would like to know your thoughts. If you don't listen through I would be interested to know where you stopped and if you care to tell why you stopped 🙂
  6. bryla

    Little Big Dreams

    Good! So take it as an opportunity to dig deeper and develop!
  7. bryla

    Little Big Dreams

    I really think the piano could use some velocity differences and humanized timing. Also it's kind of thin on it's own. Maybe a different sample or consider lower accompanying chords. Too much reverb and delay – dial it down and send the delay to the reverb as well. Low strings in the intro could do well with some dynamic CC riding. Too static. I don't know reFX Nexus but maybe it's just moving the mod wheel up to phrase it. The effect on 0:34 comes WAY out of left field. Dial it down and maybe send it to a room reverb (what's called ER). It's a night and day difference between where the piano and strings sit and where the effect comes. To ease the listener you could maybe do a reverse-reverb trick leading up to the effect, so we know that somethings coming the first time. Drums could do with some ER's as well. The string melody on the other hand is a strange choice for sound. Other than it's lacking the same dynamic shaping as the cello and doesn't emphasize your nice turns in the melody it doesn't break the phrase anywhere. If this is the best sample you've got you could try EQ'ing it so the highs stand out more (this can also very well be done with a saturation plug-in of any kind). You could also double it (unison or at the octave below) with a legato saw lead, any woodwind sample or a more tightly attacked string sound. Thanks for sharing!
  8. bryla

    Music/Composing Courses to Check Out

    http://www.filmmusicinstitute.com/fmi2110-2120.html I took this 6 years ago when there was not much out there, so I don't know how it compares to the newer stuff, but you get to hear Steven Smalley talk about his approach to orchestration and you get a ton of scores and sketches that you really have the responsibility to dig into yourself!
  9. bryla

    Inside the dream

    Luis, this sounds intended to my ears but I might be wrong. Good tune! This would gain from more orchestrational delegations of the element. Instead of one role be assigned to the same instrument throughout, change it to other sections for every 4 bars, 2 bars, bar, midbar! Another device I use for repeated arpeggio/ostinato kind of textures is I take apart the notes in the rhythm based on their role and orchestrate those! For example the very first bar of your track (let's play with it and pretend it's not just a solo instrument but we wanted to orchestrate this line): The A and the F – and the following descending thirds from there – are the base (also bass in this instance but if we played downward arpeggios they would still be base – not bass). They could be doubled by a bassoon to give weight, harp to give length, xylophone to give attack. The second one of each falling third pair could have a roll (in the broadest terms: snare roll, harp gliss and stuff like that) leading up to the next one to give momentum. For padding you could make sustained chord of A,C that last the whole bar and descends stepwise. This could be horns, clarinets, strings a.s.o. Simple device but it has already given me loads of ideas to work with just with the first bar! My point is: Don't simply add stuff to make it exciting, play with what you've got! Thanks for sharing!
  10. bryla

    Brave New World

    What kind of incidental/soundtrack music are you intending? Listening to the first 10 seconds I feel like you're burning all your ideas and looking at the length I have a hard time seeing what the rest is about. It relies too much on bells and whistles and I feel like you're covering up a weak idea with drums, minor third transpositions and staccato strings. Not speaking in musical but in sheer drama the track doesn't develop. It doesn't tell the story. It's obvious you are playing with some harmonic ideas you've grasped from soundtracks but you can't make an audience follow you on simply that and the three above points for 4 minutes. You need dips and rises, tension and release, dark and light, protagonist and antagonist, motivation and obstacle. It's a good study for you to do this and good to hear you scratching the surface of it – time to dig deeper! Thanks for sharing!
  11. bryla

    Again Again

    Happy tune! Good to hear 🙂 The melody is suffering in the mix. There's a lot you could do with saturating to bring out some harmonics and turning down the bass or doubling the track. Look up some vocal mixing tricks perhaps from Waves or iZotope for example. The shaker that comes in (1:25-ish) is a bit to straight for my taste in a song that seems more shuffling. Thanks for sharing!
  12. bryla

    Mjølner - orchestral

    Thank you, Luis!
  13. Hey guys, Have been experimenting with another score layout - more akin to pocket scores - for better legibility. I'd be curious to know your opinion on this: Mjølner (The hammer of Thor) If you just want to listen here's a Soundcloud link:
  14. Thank you, Christian!
  15. bryla

    You And I

    Thank you for your kind words! The piece was composed and recorded for my demo reel only. It's not gonna be played anywhere else. I composed it purely based on my own aesthetics. I wrote it in a couple of hours. When doing comisioned work for media productions I either have conversations with the director/producer of the musical intent and drama of the story before writing demos or I get temp music that sort of matches the intention.
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