The link is here....www.reverbnation.com/crownrecords
The link is here....www.reverbnation.com/crownrecords
Hello looking to score several films and also soundtracks to movies....urban drama, 70's style movie remakes, any short films
I only have short scripts and feature screenplays
I'm just seeing this, when do you want to start on music production for it, you can send the details to my email demariojackson74@gmail.com
WELCOME TO MY NETWORK OF FRIENDS DEMARIO.....
Tx for the connect DeMario
www.reverbnation.com/crownrecords I can also make new material upon request demariojackson74@gmail.com
www.reverbnation.com/crownrecords I can also make new material upon request demariojackson74@gmail.com
Hi DeMario. I'm RB, co-founder and CEO of Stage 32. I know first-hand the challenges all creatives face finding work and attracting attention to their projects. That's why we created Stage 32. Our members run the gamut from film students to award winners. The community is now 50,000+ members strong spanning 175+ countries. This is a network for you, built by you. Like most things in life, the more you participate, the greater the rewards. We ask all new members to help us spread the word through other social media such as Facebook, LinkedIn, and Twitter. We also ask that you help strengthen th...
Expand postHi DeMario. I'm RB, co-founder and CEO of Stage 32. I know first-hand the challenges all creatives face finding work and attracting attention to their projects. That's why we created Stage 32. Our members run the gamut from film students to award winners. The community is now 50,000+ members strong spanning 175+ countries. This is a network for you, built by you. Like most things in life, the more you participate, the greater the rewards. We ask all new members to help us spread the word through other social media such as Facebook, LinkedIn, and Twitter. We also ask that you help strengthen the community by inviting at least 5 fellow creatives. Check out Invite friends to Stage 32 on the upper right side of your profile. Thanks for being a part of this most talented and inspiring community. PS - Be sure to check us out on Facebook and follow us on Twitter at @Stage32online.
Hey DeMario, I'm the CTO and lead developer at Stage32.com. Please let me know if you have any questions or feedback about the site. I'd love to hear your comments!
Hey DeMario, nice work! There's some good stuff going on in here. I think the opening of Turtle Island and Project Bricks are really gripping and engaging, well done. I like the beat on Topple This Mu...
Expand commentHey DeMario, nice work! There's some good stuff going on in here. I think the opening of Turtle Island and Project Bricks are really gripping and engaging, well done. I like the beat on Topple This Music from 1:14.
To answer your question- it does depend on the film, and what the goal of the scene is, but my gut instinct is this isn't going to be great score music. Score needs to respond to the scene and evolve, it's generally not very repetitive, and it's quite dynamic. So this doesn't really fit that brief.
It may be better soundtrack music, but I think you'd need to do more with it. Soundtrack syncs generally have some kind of vocal on them. Soundtrack tracks also generally evolve, have a clear beginning, middle and end, emotional high points, and have a hook or theme that keep a listener engaged. The first couple of tracks generally use very repetitive beats, so I'd think about ways to add more variety to them and have elements coming in and out more, like you've done on Project Giants, Project Bricks and Oohh LaLa which are great tracks. Soundtrack tracks in your style also need to be super well produced and have a glossy sound to them, so those first two tracks and Oohh Lala would need extra production (Project Bricks and Project Giants sound great and would just need a polish but the other tracks would probably need a little bit more work before being film ready).
You should definitely look into sync briefs for advertising though with tracks like Project Bricks and Project Giants, those two are stunning and capture everything needed for working in advert music. I just listened to your tracks FreeFall and Armoured up too and that would also be great for sync and possibly some soundtrack (I'd probably start with advert though as it's easier to start with). There are tons of music libraries that always need more stuff in that style for adverts. Let me know if you'd like me to send you recommendations of places you could reach out to. Hope that helps!
First keep in mind that any music can be legitimately used as score for a scene. Generally, I would suggest that as a scorer you have two obligations - first and primarily to your stakeholders who are...
Expand commentFirst keep in mind that any music can be legitimately used as score for a scene. Generally, I would suggest that as a scorer you have two obligations - first and primarily to your stakeholders who are often the filmmaker, the producer(s), and/or the director. If they like it, you have done your job regardless (imho) if you yourself or anyone else likes it or not. I was given very specific instructions for my last film which brought me way out of my comfort zone. I completed the score and i thought it was OK but not one of my 'strongest' works, but the filmmaker loved it as delivered and so it stands 'as is' ( https://soundcloud.com/joelirwin/the-players ). This was my first time embarking into synthesized music and sound design - something I judge you are quite comfortable with.
Second, trying to judge music as whether or not it fits a scene is more difficult with the actual scene. We can 'guess' where it could fit, but as scorers, our job is not only to write the music but to customize it in various ways such as feelings, emotions, the hit points and the lengths. Pre-recorded library music often gets modified (perhaps chopped into various parts, etc.) before being placed into the film.
Third, my background is far different from yours and my experience with beats and sound design is still quite lacking.
Fourth - do not assume appropriateness for just film - don't forget gaming applications.
With that in mind, here are some 'observations':
1. Turtle Island and Topple This Island are highly beat/rhythm oriented. Done well but quite repetitive. If it were mine (which it is not :) ), I would vary the rhythmic patterns, the tempo, even the time signature to introduce variability
2. Project Giants has a bit more character and that appeals to me more. Though it is still generally rhythmic and repetitive in nature.
3. Project Bricks goes for a bit of melody and I like its direction - you mixed in various different sounds which broke up the repetitiveness a bit.
4. For Oohh Lala, I like the way you experiment with the female voice going back and forth between E and G then F# F# E and then Bb, etc. What disappointed me though was that you had the female choral notes which sort of formed a melody against a percussive beat only. No other pitched instrumentation of either counter-melodic notes or chordal structures. For example the E and G can form a Eminor chord but they can also be part of a Cmajor or an Amin7.
So I have intentionally not read any other feedback before listening. My suggestions are based on my past and may not conform necessarily in your musical directions. For me, I'm OK with rhythmic beats and repetitious segments, but after say 2 or 3 times, I would be interested in some sort of change / modification.
Keep in mind also that your music is not a film score (yet) and so it represents your 'sound'. Try to put something together that lasts say 15 to 30 seconds that both represents your sound and differentiates you from your competition.
Good stuff, DeMario Jackson! And thank you for asking for feedback - we love doing feedback exchanges here! For screenwriters, it's a script exchange, but for you, I would suggest leaving some notes f...
Expand commentGood stuff, DeMario Jackson! And thank you for asking for feedback - we love doing feedback exchanges here! For screenwriters, it's a script exchange, but for you, I would suggest leaving some notes for fellow composers and end with a kind request for them to return the favor. Just a thought ;-)
A couple of things from my initial listen on "Turtle Island" -
1) It starts WAY loud, and my poor ears were not ready for it. I'm not sure I'd have that kind of transition mixed so much louder than the rest of your song/piece. I don't even remember what I heard because all I remember was the volume. 2) I wasn't a fan of the "tinny" sound of the main rhythm at first, but then I began wondering what kind of atmosphere would showcase this kind of "irritating metal sound", and felt a futuristic local like Arcane or Zero Horizon Dawn might marry well with it. 3) Because of the repetitive nature, it feels more like the background music at a bar scene, and the tribal singing part that is woven throughout seems like a character's theme that might pop up whenever that character takes action. Now I kinda want to know if that character is also native! 4) There was a change in the bass around 1:40 and it was the first time that it sounded more like a soundtrack just because it sounded like the tone changed, just as it might in a scene - in every scene, there is a change, and that bass change felt like "raising the stakes".
All this to say, there's definitely something there! I'm not sure if Composers normally create "mood boards", but I think it could help show that this is meant as a soundtrack by putting together a mood board, or a compilation of visuals from previous films/shows that have the aesthetic that works well with the tone your music sets. Just my two cents!