after quite some time of lonely bedroom composing, i finally take the step out to you. I hope to get some constructive criticism on my way to my goal, which i'd like to introduce briefly: I love the modern orchestral, "epic" sound of present soundtracks. As a french horn player in a large symphony orchestra, i know about goosebumps. For me, electronic enhancement of the symphonic orchestra with synths and modern sound processing is a logical evolution.
Here's the problem: There are plenty of "epic" music composers all around, but to me, all seem to have just one message in their music. It's the story of the heroic, pathetic warrior, his weapon, steel and all the war. Thats nice, at least sometimes. But why isn't there more different content? Shouldn't it be possible to make not only "epic" style sounds, but real music? I adore the musical expression of the great romantic composers, e.g. Tchaikovsky, who combined great melodies and compository work with social criticism and auto-biographic meanings.
Don't get me wrong, i dont claim to do anything comparable to such big names. I just tried to find out: why is there so less music in "epic" music? Where is the motivic work of Two Steps From Hell? Why doesn't Immediate Music use the sonatina form? Or a fugue? Instead of searching for composers, who actally do what im looking for (I guess, they exist), I decided to try to get some of the melodies in my head into the computer by myself.
So i got FL Studio and subscribed to the EW Composers Cloud, watched some tutorials (not enough yet) and got into music theory (way not enough yet). As first step i want to get familiar with my trades and I limit myself to short pieces, trying to get this huge sound. Adding motivic work if i can afford it.
Currently, the main issues I try to fix are:
- My "epic" orchestral sound doesn't sound "epic" and still i dont know why (gonna have more YT-tutorials...) .
- Because of this I add more synths. Synths aren't bad, but they should support the orchestra, not vice versa.
- While working on my track, I'm spending too much time in small details and forget about how the piece feels, if its heard for the first time. How do you deal with over-hearing your tracks?
- In order to fill my sound, I add more layers, but instead I loose translucency. Arranging and mastering orchestral sounds is still a challenge for me.
- I'm not sure how much "music" (not "sound") can be done by a VST. Where is the point where i have to record real played melodies to get some kind of soul into my pieces? Up to now, everything you hear are VSTs. How many recorded melodies does e.g. a Bergersen use?