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Are you sure Zach Hemsey is not an alter ego for Hans Zimmer? HZ?... Anyway, the posts are not 'angry', they are merely sarcastic, and they smack of leftover smoke from wars of yesteryear and older waged here on this forum, grossly put, between those of us who put Music before sound effects, and those others, non musicians...
P.S.: You should take PaulR's posts literally. The man is for real! As for Bill, you can ignore him at your own peril...
@Errikos said:
... leftover smoke from wars of yesteryear and older waged here on this forum, grossly put, between those of us who put Music before sound effects, and those others, non musicians...
They taught me in college that it's all subjective and Bach and Beethoven weren't really better musicians than someone banging on a cardboard box and applying massive amounts of reverb.
Okay, this thread was like an itch that I couldn't scratch...
Until now.
Nektarios, I'm glad you got what you were looking for. However, I think you unwittingly opened a huge can of worms on this forum. Actually, you opened two. The first was mentioning the Z man, Zimmer (I know, you never mentioned his name but you mentioned Inception which is an indirect reference to Zimmer) the second can of worms was trailer music, or should I say trailer nonmusic (okay, trailer sound designs)
I'm not going to dig up hatchets that were buried with other forum members over Zimmer so I'm not commenting on him.
Re: trailer "music." Nowadays, trailer music is garbage. There, I said it.
I'm sorry, I don't mean any disrespect to you, Mr. Hemsey or those who make a living from creating trailer music and if creating trailer, shall we say 'sonic accompaniment,' is how you want to shape your career then I wish you and Mr. Hemsey God speed.
[ Who the hell do you think you are jasensmith? Let's hear your great contributions to western music! Let's hear what you have to offer! ]
Okay, I tried my hand at trailer music and I failed miserably. Why? Because I refuse to confine my creative drive to dark string arpeggiators, mundane loud crescendo builds, and, yes, annoying reverb lathered taiko thumps. There are other ways of building tension and I hope you find it upon yourself to blaze new trails in this area. Then maybe I might like trailer music again.
@BachRules said:
They taught me in college that it's all subjective and Bach and Beethoven weren't really better musicians than someone banging on a cardboard box and applying massive amounts of reverb.
Really? Do you believe that though?
Then why not change your name to CardboardBoxBangerRules?
Or how about PaulsNeighborFromNewJerseyRules?
Yeah I drooped out of my Masters in Music Composition program because the professor once told me, "If the general public likes your music then it must be garbage." So inspiring.
I recently heard that that tenured professor got fired for carying on an "inappropriate" relationship with a student.
Hey Jasen, good points. I think BachRules is on our side though, and ridicules what was taught at his college, hence his forum name...
As far as the werewolf attack is concerned, I don't see where a Taiko would fit - which is more of a thudding, crashing sound, something hitting something else, rather than attacking it. If it's a competition, think about your options and maybe avoid the very obvious choices today. Taiko is the middle name of every living composter. For ex. HTZ or ZTH, etc.
Okay, how 'bout boring then. If you've heard one trailer spot haven't you pretty much heard them all? Unless it's a Romantic Comedy because the powers that be haven't figured out how to arpeggiate and taiko thud a Rom Com so they just slap on an Indie Rock ballad.
Actually, is trailer music really a genre in itself? Isn't just a short film score? That's how I always thought of it. Ahh! Maybe that's why I never got any traction out of it[I]
Nektarios,
Again, I mean you no disrespect and I wish good luck with the contest. But think of the responses to your original post as tough love. I think Erikk, Paul, William and the other battle hardened salty veterans of those "wars of yesteryear" that Erikk spoke of are just trying to save you from becoming yet another clone of a clone of a clone in the vast space of mediocrity.
Don't you see, it's not about the music anymore. It's about "look what I can do with my DAW," and once it gets to that point the profession is dumbed down because any monkey astronaut can figure out how to punch buttons on a DAW. Your skills as a composer will become surplus. It's kind of like what digital photography did to the dark room technicians who conjured up the magic to make a so so shot a great shot.
[quote=nektarios]That's true but for working composers it's more like "In the end, beautiful music is in the ear of the market." And, unfortunately, what we hear in the market right now is the vast space of mediocrity and that's what it's demanding. I think it's because of the technology today. As I've said before on this forum, it's ironic that the technology we use to create our orchestral masterpieces is the same technology that has dumbed the profession down by creating clone after clone after clone.
I apologize if I sound condescending. I don't know you and I don't know your music. Maybe you have such a bright talent that BachRules will change his name to NektariosRules someday. Good luck to you.
The question with trailer-park music is not whether it is beautiful in the ear of any beholder; the question is whether that music bears the stamp of its creator, or is it merely a sorry melange of painful clicheds that are communally shared (having of course originated as the ideas of very few, the rest just copy-paste). At any rate, although this kind of compostition makes for a professionally lucrative market, I don't pay it much attention; I just wish movie soundtracks proper would dramatically improve...
P Paul moved this topic from Orchestration & Composition on