Hi friends,
Another hard rejection, your helpful advice and constructive criticism will be highly appreciated!
Is it the ending of the track? Or am I using low quality sound samples? Or maybe the overall composition? I really have no idea and the general response I get of “not meeting the general commercial quality standard” is a puzzle which does not help either…
guitar bad
Thanks zigro! But do you mean the sound sample (it is the Komplete Kontrol Micro Prism, so more of a synth) or the guitar delay effect? Or is it too loud?
Any other advice please?
i liked, nice guitar-synth tone, but a bit loud for me
Thanks 3DAnimals, much appreciated!
Dear friends, there must be also other issues with this track I suppose, since it was hard rejected… Any criticism is welcome, so please tell me what you think?
Hi friend, just had a listen to your track with headphones. The music is quite good and I like it and I really don’t think that your rejection is because of the musical content. But with all the respect and with the only intention to be helpful, you need to improve your production skills (mixing and mastering) as well as orchestration (in particular how to write for strings, eg give it wider intervals in the mid-low to low range). things like…better use of panning (balance or stereo panning), reverb (not too much in the low end), using better sound libraries to avoid the midi-like sound, and overall balance of the track. I would recommend Samuel Adler (the study of orchestration)! It’s a great book as well as subscribing to ask.audio academy and do some mixing mastering courses. I have done it and highly recommend! I wish you all the best!
Among the many orchestral libraries I use, I would highly recommend Spitfire audio’s Albion ONE. It’s very versatile and great douns out of the box. just as an example here my latest orchestral track " Cinematic Motivational & Inspiring Epic Trailer" so you can clearly feel the legato patches half way the track.
ok all the best again.
Great, many thanks WavebeatsMusic! This is exactly the type of advice I am looking for and it is indeed very helpful! To be honest, the whole track was done with only free VSTs - even the strings are from Spitfire LABS. Obviously, I would still need to invest in a solid library. I know Albion ONE (just missed the week when it was 30% cheaper), but lately I was also thinking about Nucleus by Audio Imperia because of the additional Soloists and Choir.
As for mastering, I don’t have any experience indeed - only tried some basic adjustments with Ozone Elements… Thanks again!
happy to help… but remember…buying good libraries is just the starting point. learn how to proper use CC messages, specifically expression and modulation. they bring live to every orchestral mockup. Again, I wish you all the best!
Thanks, that’s another headache because my digital piano does not have any mod wheels… Will have to look for some kind of a small separate controller maybe…
I think you hear the notes well, but you don’t hear the timbre. (This is the trouble of all composers with absolute pitch). I’m a sound engineer - I have a timbre ear. I don’t like all your instruments (the way they sound), but I like your notes …
It will not be sold, because the mass listener has a timbre (* people don’t hear notes, they hear timbre)
Your instruments sound great (this track can even be used for movies in large movie theater halls)!
Thanks volkovsound, that’s very useful! Suppose it is then also about the instruments that I’ve chosen - the guitar (synth) might be one of the problems as pointed out previously… Will keep experimenting with different instruments, hope I can develop a better timbre ear.
That is indeed a great track!
WavebeatsMusic gave good advice (this will help).
I can tell how sound engineers switch to timbre: they listen to “pink noise” through a 1/3 octave filter and try to remember. Then the brain learns to hear the timbre. (a note is a tone, pink noise is not a tone)
Is that clear?
Thanks, I had to Google “pink noise” and now it seems a bit more clear to me
“pink noise” differs from “white noise” by a decrease in high frequencies (this corresponds to acoustic perception of sound … Frequency response of a good room should not be linear, there should be a decrease in high frequencies)
you need to split the whole noise (the entire spectrum) into octaves, and split the octaves into parts, and hear the difference between these parts … it will be timbres difference, not tonal …
Your brain will cease to associate the teber with the tone (and you will have TWO hearing, and you will be able to understand the timbre of the best tracks and achieve these results on your tracks)
Many thanks for the great advice, that is very interesting and obviously I have more work to do!