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Jerry Goldsmith - Enterprise Theme (from Star Trek: TMP)

Discussion in 'Critique & Feedback' started by Kent Kercher, Jun 3, 2018.

  1. Hey All!

    I posted this a few days ago on good ole VI-C, but I figured some of you frequent here more often and could give more feedback.



    Please tell me anything that comes to mind!
    ---

    Context: A while ago I took advantage of the crossgrade price Steinberg offered during Calkwalk's temporary demise and got Cubase 9.5. Coming from Logic, I wanted to see if it fit my workflow and computer set up better.

    Spoiler: it did.

    I spent about 3 weeks building a disabled template articulation by articulation, track by track (~3300 in all???), and attempting to pre-spatialize and EQ everything orchestral so that my core ensemble was more or less coherent.

    To test this out, I did a mock up of the Enterprise theme from TMP, and made some tweaks to the template, tweaked the mock up, tweaked the template, ...

    Then, just as I was finalizing everything, I got hired by a big-time composer who uses Logic, and I was working 80-90 hour weeks. No time, nor emotional energy, to focus on my own paid stuff, much less learning a new DAW for leisure!

    As of last week, though, I am free again, and now I'm back to working on this template. I'm honestly pretty happy with how this cue-let turned out, but I plan to mock up more pieces to further refine the template (and my skills) before (and if) I ever revisit this particular one again.
     
    Aaron Venture likes this.
  2. ...But just because I'm happy with it doesn't mean there isn't room for improvement!

    What can I integrate into future experiments?
     
  3. Sounds good to me! Good job.

    Kind of obvious: brass and woodwinds being in the forefront?
     
    Kent Kercher likes this.
  4. You've got all the expressions there, now you just need to play them expressively. You have the sounds of the expressions, but not yet the performance, which leads to the dreaded Uncanny Valley effect - it's made up of such life-like pieces why is it so lifeless?

    We struggle with it in visual effects, too and it's maddening. We ask ourselves why, when we've replicated every last detail of a thing, it still looks fake. The answer is almost always that how we put it together is more important than what it's made of!

    This is an extremely difficult cue to mock up, but also extremely useful and revealing. I'd keep at it, personally.
     
    Kent Kercher likes this.
  5. I’ll see what I can do.
     
  6. Do not be despirited. I can help.
     
  7. is there a download link available, would like to take a listen on my studio monitors.
     
  8. Great idea. There is now!
     
  9. #10 Gregory D. Moore, Jun 14, 2018
    Last edited: Jun 14, 2018
    When it comes to expression and interpretation, I've learned a tremendous amount by watching masterclasses. Even from masterclasses on instruments you don't play, you can learn a tremendous amount just about musical interpretation. Mike Verta's Live Brass Class is obviously a great place to start. Others I would suggest checking out are the Leon Fleisher master classes (with Yo-Yo Ma as well) which go into tremendous depth on phrasing and various performance aspects of expression. Leon's style may seem "slow" but they are words of wisdom once you understand the depth of their meaning. While these are focused mainly on romantic classical music, they apply very much to the same way orchestral performers will approach playing film music. What all of these masterclasses teach, whether its Fleischer, Rubinstein, or Jorge Bolet, is that you need to learn to listen to your own performance and learn how to be critical of it. IOW, learn to be your own teacher when you practice and play.
     
    Kent Kercher likes this.

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