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  1. dbfs

    Dragon of the North (Epic Orchestral)

    I agree that it could use a little extra reverb in there. I've found it really easy to overdo the reverb with Hollywood Orchestra, though, so maybe just a touch more on the strings and a bit more than that on the brass. Maybe some hall reverb on the female vocalist too? Not sure about that though, I don't usually have vocalists in my tracks because I don't really have any vocal libraries.
  2. Lots of good info in the first two responses! Reference tracks (with good notes) are an absolute must unless you've hired a composer because you know his/her "signature sound" and want that sound for your game. A good collaborator will be able to ask you the right questions to suss out why you chose your reference tracks. After sharing the tracks and talking over what aspects are part of your vision, I've had success producing a ~10 minute musical collage of different ideas and sounds that I think would work for the project. It's a good way to quickly get a broad scope of musical ideas for review and to avoid sinking too much time into work that will get rejected. Good luck!
  3. Hi all,   Here's a track I finished recently. It is heavily inspired by the Deus Ex: HR soundtrack, and I aimed to come as close as I could to Michael McCann's polished sound. Feedback on any aspect of the production is welcome.   https://soundcloud.com/dan-drebing-music/past-is-prologue
  4. dbfs

    Introduction: Looking for answers

    Carlos, your music is beautiful and I'm sure that if you keep going you'll get someone to pick you up.   I wonder if the demos you send don't sell the studios on you because they don't "sound" like what the studio is looking for (despite the quality of the composition). By that I mean a couple things:   1. Not many games have a soundtrack orchestrated traditionally (even Jeremy Soule uses big, huge epic drums to hook people into the Skyrim theme). Many either go "modern/hybrid/epic" like this:  with orchestral components, but also synths, guitars, and other instruments. Sometimes they are purely chiptune:  or a million other styles. But game soundtracks aren't often just orchestra. Maybe you could try learning how to use synths or have someone "orchestrate" your compositions on synths? Obviously you are a solid composer, maybe you're just not using the right sonic palette to get the studios' attention.   2. The structure of your pieces are also not very similar to video game music IMO. They are beautiful and more complex than a lot of VG music is (they don't loop, for example). Maybe try writing some very simple pieces that can be looped. There's nothing wrong with simple, looping music with only a few voices; it can be great:     I haven't worked professionally, these are just some thoughts of mine.
  5. dbfs

    Chiptune softwares

    I love NES VST and NeoChip for writing chiptune music.
  6. Hi all,   I just joined and am looking forward to learning a lot from everyone here. This looks like a very knowledgeable community and I hope to grow a lot as a composer and producer from your feedback.   Here's a sci fi sketch I just finished:  https://soundcloud.com/dan-drebing-music/sci-fi-sketch   and an orchestral adventure theme: https://soundcloud.com/dan-drebing-music/adventure-theme   Thanks in advance for feedback!   D
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