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Which one, the one that develops or the monotonous droning one?

Discussion in 'Tips, Tricks & Talk' started by Eric Grace-Dixon, Jun 13, 2019.

  1. Hi :)

    In this thread:


    Mike called a cue from Jurassic Park, Indy Jones, or Han Solo a monotonous droning cue. I assume he was talking about the latter.

    I was hoping to hear an explanation as to what is wrong with it? Personally, I like it - but what do I know? Hoping to learn a thing or two here :)

  2. #2 Mike Verta, Jun 14, 2019
    Last edited: Jun 14, 2019
    Nobody can or should tell you what to like. If you like monotonous, droning music, what's the problem? Listening to music should be a joyous thing. And when it comes to monotonous and droning, these days you'll have a nearly limitless number of pieces to enjoy. This does not sound like an action item which needs fixing.

    Here we don't talk about good music or bad music - we focus on the music being a product of craft; skill; control; intent. Our goal, if we're writing droning, monotonous music, is that it's not because we couldn't write an engaging, structured, masterwork of depth, but because we chose to write a monotonous, droning piece instead. Now, it tends to follow that once you can do more, you tend to not enjoy doing less, but that's really separate. Ignorance is bliss, but mastery is infinitely more.

    But we also tend to be a self-selected set - those here are usually already in search of more for themselves; more control over their destinies; more experience and depth of knowledge. So if that's the goal, pick a thing and ask about it; try it; get feedback about it. That's what it's all about.
  3. #3 Claude Ruelle, Jun 18, 2019
    Last edited: Jun 18, 2019
    The real question for me would be - why do people tend to prefer monotonous and droning cues?

    A friend of mine (who is not a musician and has nothing to do with music) made me listen to this soundtrack the other day; telling me it was some of the best and deepest music he has ever heard.

    I don't know the composer and I entirely respect her and her work. In fact I really enjoyed that piece, but to me it just sounded like cool soundesign - or very sophisticated and intricate soundesign maybe, idk... I am just a bit clueless about why the majority of people will often reject higher and deeper levels of musical complexity.
  4. I really like atmospheric sound design elements in media and music. This is actually more interesting than a lot of modern film music. But hands down the music that I actually remember, even in that category, has a semblance of development, melody and direction. It needs internal cohesion.

    It comes down to people liking what they know and understand, I think. If all you've grown up eating is McDonalds, how will you be able to appreciate complex food that is naturally flavourful and not filled with flavour enhancers and copious amounts of sodium? Ditto almost anything else.

    I've witnessed this in my 2 year old. She's got a large vocabulary and likes a wide array of simple to complex music, because we exposed her to it all early on and help her understand it. If you only babytalk to a toddler, they will learn babytalk.
  5. I think most of the buzz about this score is the fact that she went to an old power plant, having to wear a radiation suit, to record the sounds that she used for this score. I'm not sure I'd classify this as a score though - it's really all sound design.
  6. #6 Claude Ruelle, Jun 18, 2019
    Last edited: Jun 19, 2019
    That's really cool!

    I definitely admire the gesture but still do not feel anything more than just a cool vibe - and there's not a lot in there that would reflect the emotional investment that going through such a unique experience represents.

    Don't get me wrong, I still think this cue is awesome and does a great job a setting a heavy mood. I just can't see it supporting any type of drama or long-form narrative.
  7. I completely agree. I think sound design has become incredibly detailed and immersive in the last few decades. It's incredible what i.e. the indie game "Inside" sounded like, I've never heard anything like that before. The sound designer had a sword-swallower swallow a mic in order to get a more "in your body" sound when it came to the boy's pounding heartbeat and the like.

    That said, sound design doesn't replace a score. Good sound design immerses you, but it doesn't tell you the story. I don't know why the two have become equated.

    I don't think all films, TV programs or games have the burden to be a full-blown symphonic score. In many cases that would be inappropriate. But that doesn't discount the need for cohesion and development.
    Claude Ruelle likes this.

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