Latest / 52 Cues - A Production Music and Sync Podcast / Uplifting Orchestral Cue Review

Transcript

Uplifting Orchestral Cue Review · 52 Cues - A Production Music and Sync Podcast

• 0:33
  Speaker 1: What is happening everybody?
• 0:34
  Speaker 1: This is Dave Croft, and welcome back to another 52Q's Q review, where I feature a Q written by a member of the 52Q's community and give feedback on it, like you might hear from a music supervisor or a potential library.
• 0:48
  Speaker 1: So we are checking out an untitled uplifting orchestral Q written by longtime 52Q's community member and supporter, richard Bagley, so we are going to take a listen to it and then talk about it on the other side.
• 1:02
  Speaker 1: Alright, that was so far an untitled uplifting orchestral Q.
• 3:18
  Speaker 1: This was written during our week 33 feedback, a weekly feedback thread, and Richard says currently putting together a 10 track album request by the publisher specifically for a UK countryside TV show, so it's yet to be tied.
• 3:34
  Speaker 1: This is absolutely lovely and I really, really love Richard's work.
• 3:38
  Speaker 1: So thank you so much for sending this along.
• 3:40
  Speaker 1: There's so much to love about this and one of the things that I really like about this is we actually have a lot of stop downs or edit points.
• 3:49
  Speaker 1: I've heard those used a couple that term used different ways and we just last night, as of this recording last night, we had a workshop with Jason Moss of Bulletproof Bear and he said he loves stop downs, he loves edit points and finds that a lot of music supervisors really like having these options.
• 4:11
  Speaker 1: Now, as far as when and where to put them, I think it really depends on the Q, as long as it doesn't feel forced and it feels natural.
• 4:17
  Speaker 1: And these all feel really really natural.
• 4:21
  Speaker 1: Love the stop downs, lots of options for an editor, and that's what I think is really really working.
• 4:28
  Speaker 1: We have one theme this is almost almost kind of like a theme and variations type of a Q and I think this works really really well.
• 4:36
  Speaker 1: Of course, the programming is impeccable the string work, the handoff to the pizzicatos and everything.
• 4:42
  Speaker 1: I think that's all really working.
• 4:45
  Speaker 1: The only thing I would say about the stop downs is I wonder if one of these stop downs maybe should resolve to tonic, because the only real point where we kind of land on tonic is here at the end, and even there it is kind of a delayed resolution and this nice little plink.
• 5:14
  Speaker 1: And I wonder if, just to give an editor options, I wonder if putting one of these stop downs through here, you know whether it's like there or here, there, there I probably wouldn't put the last one.
• 5:32
  Speaker 1: I like the last one kind of delayed, the delayed button there.
• 5:37
  Speaker 1: But I just wonder if one of these should be on tonic, and my recommendation for as far as which one to put on tonic, hmm, I wonder.
• 5:50
  Speaker 1: Maybe this one, one kind of big one after the cause.
• 5:54
  Speaker 1: We kind of have an intro and then we have the first statement and then we have our first variation.
• 5:58
  Speaker 1: I like the kind of half stop down here and then we have a big stop down after the breakdown, a smaller one into the breakdown, and I just I just wonder if, coming out of our intro, this is all really working into the.
• 6:19
  Speaker 1: I don't know that really really works.
• 6:22
  Speaker 1: That's a nice oh, that really works.
• 6:28
  Speaker 1: So, richard, maybe try it.
• 6:31
  Speaker 1: I'm not saying you have to do it and none of these things are deal breakers, and I hope, if you're watching this as a Q review, you know we're listening to this in our audio podcast feed just know that these are all just suggestions.
• 6:44
  Speaker 1: Very rarely are these deal breakers, because I like how the next resolution it's just a matter of giving editors options and if we can give them an option where one of these stop downs ends on tonic and is a kind of blink kind of moment instead of a really big kind of stinger, that feels a little bit more stingery.
• 7:09
  Speaker 1: Of course, this is good also that people don't mind.
• 7:13
  Speaker 1: If we were totally content, let's just blow in theライン and score here.
• 7:20
  Speaker 1: That's on this ettiad to do this if we even don't want to move on.
• 7:29
  Speaker 1: The問題 is we could choose not to just stand over here.
• 7:34
  Speaker 1: We could do all of this, keep it.
• 7:37
  Speaker 1: I don't know if I would put this big symbol it's not even that big, you know upon listening to it again.
• 7:45
  Speaker 1: But just maybe just have it.
• 7:47
  Speaker 1: If we're keeping this.
• 7:48
  Speaker 1: I don't think you need the suspended symbol there.
• 7:55
  Speaker 1: I think just sneak things back in and okay.
• 7:59
  Speaker 1: So I'm kind of popping around At the beginning.
• 8:04
  Speaker 1: I wonder if we can maybe slow it down the tempo just a little bit, or put a little rawl and tando and let's see.
• 8:15
  Speaker 1: Let's see if I can kind of see, if I can fake this a little bit to see what it would sound like.
• 8:21
  Speaker 1: I'm not sure the exact tempo, but I'm gonna put a little bit of Decelerando or Ritardando I don't guess Decelerando is a word.
• 8:31
  Speaker 1: I just want to see what that would sound like.
• 8:35
  Speaker 1: We're gonna pop that down.
• 8:39
  Speaker 1: Of course, this is doing it with audio, so it might not sound great, but just to see, is it gonna?
• 8:50
  Speaker 1: Let me do it.
• 8:50
  Speaker 1: Yeah, that doesn't sound too bad.
• 8:58
  Speaker 1: Let's exaggerate a little bit more.
• 9:00
  Speaker 1: Let's do it one more time.
• 9:11
  Speaker 1: We'll back it up a little bit more.
• 9:20
  Speaker 1: In fact, let's slow the whole thing down here just by a little bit.
• 9:28
  Speaker 1: In fact, we can put another little stretchy bit.
• 9:48
  Speaker 1: It's solo piano, so I think you can really get away with a little bit more tempo shenanigans and then maybe push it a little bit here.
• 10:02
  Speaker 1: Alright, so just a little bit slower and you would trim that up.
• 10:18
  Speaker 1: Yeah, what do you think?
• 10:25
  Speaker 1: Just adds a little bit more extra life into that Going into our.
• 10:30
  Speaker 1: I would probably pull the tempo back just a little bit through this whole section here.
• 10:40
  Speaker 1: Okay, maybe not that much.
• 10:45
  Speaker 1: I'm going to put that Ricciardo again here, yeah, and it's just going to make that return to the original tempo.
• 11:09
  Speaker 1: Push a little bit more.
• 11:11
  Speaker 1: I wouldn't do all of that with the cue at full orchestration because that might feel a little strange, but with these really exposed solo piano sections, I think you can get away with it.
• 11:27
  Speaker 1: In fact, I think it's to be expected.
• 11:30
  Speaker 1: Yeah, what do you think?
• 11:39
  Speaker 1: What do you think?
• 11:40
  Speaker 1: Again, I don't think it's going to be that much.
• 11:41
  Speaker 1: I don't think it's a deal breaker one way or the other, but yeah, I would experiment around with that.
• 11:47
  Speaker 1: And then the last thing I'll say is, from a mixing standpoint, things feel a little dark.
• 11:54
  Speaker 1: I think it feels like we might have a little bit too much of a gang up kind of in here.
• 12:01
  Speaker 1: It could be the, by the way, this is like 500 to 2K or so, and it might not be that we need to tamp that down.
• 12:10
  Speaker 1: It might need that out of the piano.
• 12:13
  Speaker 1: Just bring the piano up a little bit, or in the 4 to 6K range, just so that the piano is not quite as dark.
• 12:21
  Speaker 1: But in general, the mix itself just feels a little little dark and it might be that we just kind of tucked down the low mids and that's going to help the high mids pop out a little bit.
• 12:40
  Speaker 1: And then here at the end, when the Glockenspiel comes out, there are some resonances of the Glockenspiel around 11K, 7k or so, and you can see those rezzos really, really pop out.
• 12:53
  Speaker 1: Now, that's not to say that everything has to be kind of squashed down and we're not allowed to have frequencies from like the Glockenspiel pop out a little bit.
• 13:02
  Speaker 1: I just think we need to probably not exaggerate, as it is right now, the resonant.
• 13:09
  Speaker 1: There's an 11K resonance which is popping out probably around 30 dB over If I'm reading my meters right, 30 dB over.
• 13:22
  Speaker 1: No, I'm sorry, I'm reading.
• 13:24
  Speaker 1: I'm reading those meters wrong.
• 13:25
  Speaker 1: I'm reading the wrong and I just lost it in the video.
• 13:29
  Speaker 1: Not 30 dB, I was reading this number, probably bound no-transcript.
• 13:35
  Speaker 1: 6 to 9 dB over where the rest of the track was living, if I was to freeze it right there.
• 13:46
  Speaker 1: So the rest of the track is around minus 6 dB and then we have a glockenspiel which is popping out around minus 4 dB, so that's almost 10 dB over everything else.
• 13:59
  Speaker 1: And so I think, just tamp down some of those resonances, some of those upper harmonics and upper partials of the glockenspiel which really loves to cut through the mix and part of you want that.
• 14:12
  Speaker 1: It's a glockenspiel part, so we want it featured.
• 14:15
  Speaker 1: All that to say, I would just look at tamping some of those down.
• 14:19
  Speaker 1: A little light EQ it could be.
• 14:21
  Speaker 1: You know, having pulled this from SoundCloud, that might explain that and we are clipping the output bus just a little bit, but again that might be, having pulled it also from SoundCloud, interesting what the title would be for this.
• 14:38
  Speaker 1: I think you have it country file track.
• 14:43
  Speaker 1: I would be interested in a title, obviously something kind of pastoral, uplifting.
• 14:48
  Speaker 1: It's not really adventurous, it's more safe and warm and you know, in the us we would say apple pie, but you know, I know this is the uk, so so insert whatever.
• 15:01
  Speaker 1: Whatever confectionary dessert Invokes country feelings.
• 15:08
  Speaker 1: That would be my option.
• 15:10
  Speaker 1: But, richard, thank you so much for sending this along.
• 15:12
  Speaker 1: Like I said, this was sent along during our week 33 weekly feedback thread and we put weekly feedback threads together every single week and we would absolutely love to have you join us.
• 15:22
  Speaker 1: Why don't you head over to 52 cues?
• 15:24
  Speaker 1: Calm, it's free to join and you can post up a cue and possibly be featured here on the 52 cues youtube channel, and we're now putting the audio from this video in the podcast feed.
• 15:37
  Speaker 1: So if that's something you're interested in, why don't you join us over at 52 cues?
• 15:40
  Speaker 1: And while you're there, you can also check out, check out the subscription plans.
• 15:47
  Speaker 1: We have a 52 cues and maybe, maybe, join us if you're interested in zoom feedback sessions, monthly workshops, live streams and a ton more.
• 15:55
  Speaker 1: If you found that feedback helpful and you would like feedback on your own cues, regardless of whether you're on the youtube channel or not, then head over to 52 cues calm slash coaching and you can order up your own feedback video and I'll do everything that I did, and even a little bit more, where I will take a look at the form, structure, harmony, melody, titling, mix, master and all of that.
• 16:19
  Speaker 1: Once again, that's 52 cues calm slash coaching and while you're there, you can also book a one-on-one zoom coaching session and sign up for our mastermind.
• 16:29
  Speaker 1: But that's going to do it for me.
• 16:30
  Speaker 1: Thank you so much and we'll see you next time.
• 16:33
  Speaker 1: Until then, peace.