Forsaken

[Jobauma]

This is an older one, but I decided I wanted to share it anyway. :)

Link: https://soundcloud.com/jobauma/forsaken-2015610

[jasensmith]

Well done! I especially like your use of the choir. Kind of Danny Elfmanesque. Not shy in the mix at all but not too overbearing either. What did you use to master this piece? I'm listening in my car stereo so maybe not the best listening environment but I'm hearing well defined lows and crispy highs. There might be a little mud here and there but again this isn't the appropriate listening environment. My only complaint is that I don't care much for fade outs at the end as that's more of a Pop song thing but that's just my personal preference if you were to leave it as is it would still be a fine piece. Anyway, thanks for sharing.

[Jos Wylin]

Hi Johannes,

A remarkable piece, so effective and full of surprises. A nice soundscape! I like the orchestration and the use of the voices. They are a real plus here.

One little thing: you sometimes use glissandi in the violins of which I don't see the point. They seem not zo nice to me and don't offer anything to the orchestral tissue.

For the rest, a great piece. Thanks for sharing.

Max

[Jobauma]

Hi, jasensmith! Danny Elfmanesque, jupp, that's right. ;) To master the piece I used Cubase 6, but the reverb (RoomWorks) which I applied to the piece here isn't that great. The reverb from Cubase 8.5, REVelation, is much better, though far from Vienna MIR Pro. I think I've done a much greater job with some of my newer compositions regarding the mix, and I was lucky to have a demo license of Vienna MIR Pro at the time. I really appreciate your point about the ending, because that makes me unsure. I’ve been thinking about making a compilation on Spotify some time, when I can afford to buy more products from this magical company, so it's important for me to do it right, if that happens.

I forgot to mention the products used in this composition:
Solo Strings I
Woodwinds I
Soprano Choir

And the glass sound at 2:27 is actually some Gamelan sound from Omnisphere, although I do possess the package Elements.

Hi, Max! Are you thinking about the bridge at 2:46, or even the refrain at 1:08? I’m not an expert in theory, but I’ve taken use of zigane in the bridge, so maybe that’s what is killing the flow? And thank you so much for your compliments!

[Jos Wylin]

Hi Johannes,

Sorry for the delayed answer.

I've checked the glissandi another time. The most strange one occors at 2:22, but there are other passages, be it less striking: at 3:04, 3:34, 3:42 and aroun 4:00. Glissando can be beautiful when they are effective, fitting in the style or necessary (legato on one string...) The gipsy legatos are special effects for a particular kind of music and should be used sparingly en deliberately (in my opinion).

There is something else that I've noticed: the legatos in the oboe and flute are not alway good. There are sometimes small hickups between the slurred notes. This is tough to avoid, but I've experienced that it may help when you put the attack slider (in the VI-instance edit window) a little higher, (something inbetween 15 and 21 msec). I'm sure this will help. You needn't do that in the overall attack, only in the articulation's edit window (only for that one articulation).

For the rest a wonderful score!

Max

[Jobauma]

Ahhhh.. I see. I'm glad you took the time to look into it, Max, because I'm starting to see your point, so thanks again for your suggestions, time and support, Max! This is definitely going to help my progress in becoming a better composer, and your tip about the attack slider for an articulation came as a surprise, so I'm going to take your advise and look further into it when the time comes. :)

Johannes