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Thanks for your thorough review of "More O Dat Muzak", great to see other pros with good ears!~W
Thanks for your review of "Liquid Gold" although you feel that vox would do the track good, it was written for a tv show, no vox were needed. Thanks again ~W
Ben, Thank you for your review of The Gifter, means much coming from a talented composer. Many blessings! ~W
Hey Will, Any time my friend. I enjoyed it.
thank you for your review of my track "Spies Among Us", I appreciate your kind words....best ~W
Michael, thank you for your review of my track "Fireside"...I think you might have truly missed what the song is written for as you do not write hooks or strong melodies for short pieces for film. All my tracks are soundtracks and written as such except some of my early stuff. Good luck. ~Will
Thanks for taking the time to review my song Heavenly! Your time and feedback are greatly appreciated
Will, if I would have known that your song FIRESIDE was written as a short piece for a film--I would have changed my comments---I was evaluating it as a complete song package==sorry ---keep those tunes a comin' Good luck
thanks for your review of "chase the dream". i like the sound quality your works create. any chance you get to chat about libraries and technique i would love to learn from you!
No problem...I am currently using Symphobia I&II as well as LA Scoring strings...
Interesting chord voicing video. Very informative. http://www.youtube.com/watch?v=AS6rCcGsCmY 1
Ben, Congrats on the selection of 12 tracks! Great work my friend I am VERY happy you landed that. Bravo!
Thanks Will , I appreciate the support very much. :
Thanks for the review Will - I plan to re-mix and change it up a bit to make it more interesting. Thanks for the suggestion!
NP Nigel...love to help out a fellow soundtrack songwriter!
KILLER tunes!
Thank You so much Sam.
Reached out to Larry Shell, but he is now just an indie songwriter with no employment at a label. Nevertheless, thanks for the great reference!
Thanks for your review of "Oh No"...I appreciate your constructive comments. Best~W
Merry Xmas all!!!
Same to you Ben....belatedly!
Just so you all know...I wrote Broadjam about the rude, immature, idiotism lover that Ben had trouble with and if you are getting problems with him, we both reccommend to block him. Simply write them on Broadjam and they can block the idiot even further. He was speaking very cruelly to my friends so I got rid of him and pray he gets help for the obvious drug problems he has. Peace and blessings to all!
Mr. Whamond -- I listened to this guys music on his Broadjam page...you have nothing to be concerned about.
Ben, What a great job on the Fiendish Fluoridators....I love it that you are experimenting outside of your genre...that talent you have will serve you in most areas! Love the stereo spread and the bass sound....especially the electronic tones....nice job Ben!
Thanks you Will, I been trying to expand my catalog's diversity. I appreciate your commentary on that song. It is kind of experimental.
Just wanted to state that all of you who are my friends or those who are connected to me, I value our relationship, while those whom I do not connect with but you keep hanging around, I also do SO FOR MY reasons. My time is valuable and if I see persistent, what I call, idiotism, I will take out the trash, hit the delete button, and clean up my house so to speak. I have several very valuable connections on here and will NOT put up with your banter, carousing, and idiotism any further. Thanks again to my connections!
Here is a Brief tidbit on Mastering...you may find it informative. http://www.playgroundstudio.com/blog/?p=85 1
Very informative Ben, I thank you for the kind time you took to help a fellow composer/producer out. I am currently so busy that I am dedicating more of my time writing but the very important part of production is the final mastering at which I need some work. You and a few other very select few, have helped me out greatly. I credit Broadjam for hooking me up with such brilliant. Although I just recieved the most chaotic and uneducated review from someone who obviously has a bone to pick with me. To simply give a 9/40 rating on ANY of my tracks should require a bit of in depth analysis and reasoning/suggestions as to WHY it is such a low review. Blokes such as that need to move on and away from my work! haha. Thank you kindly again Ben, Many Blessings to you and yours ~W
Will, You're welcome. There a lot of those bad reviewers out there. But then, when a good one comes along I think it is worth it. I appreciate your candor Will and inspired by it. I think more people out there should become interested in helping and not hindering. Cheers!
I have received many questions on sample libraries, sample manipulation and general orchestral production. Sorry if I cannot answer everyone Here is a great tutorial. I personally dont use Cubase, I love Protools. But all of the production models are applicable to any software structure. Take a look if you want a lesson. http://www.youtube.com/watch?NR=1&feature=endscreen&v=eFtja5P8OOU 1
Ben, This is absolutely a great lesson on the basics of mixing a great classical/movie score....Kutos!
Great vid man!
Kenneth, Thank you kindly for taking some time to review my track "November Gray". Some confusion on your "too loud" comment on my mastering....I hear NO distortion, harmonic or otherwise....did you maybe have the treble/bass signals boosted? If you did, my music will ALWAYS inherently distort as my mastering is on the cusp of negligent but still remains constant. I would like to hear your detailed thoughts on that track as it is my most prized of all classical pieces. Thanks again, ~W
I have a pair of KRK 8's and listen in a 'fairly' neutral acoustic studio. (1) What I was hearing (and I should have been more detailed) was what sounded like you used a great amount of compression. This used to be a normal mode of mastering a few years ago (the concept of louder is always better!) And that may work for hip-hop or dance music but definitely NOT for classical music. In other words very little dynamic range. I come from an acoustic background and I dislike classical music that has compressed like producers do for FM broadcasts. I had rather strain to hear the soft parts rather than be blasted by a piece that runs FFF throughout the entire piece. (2) The strings (mainly) cut off abruptly with no reverb and that lends the instrument to sound very 'MIDI'. Sorry, I get that criticism about my music very often. There are very many good hall simulation FX you can get and I think they would help immeasurably. Whatever DAW you use probably has one built in. If you apply it to individual tracks if gives them more body. Applied to the entire piece at mastering makes the piece sound as if it were played in a real auditorium not coming out of a computer. In no way does this lessen the quality of your composition! It is a well-composed piece and I liked it a lot! One more thought, listen to examples of recordings of real orchestras and try to make your tracks sound like the real thing as much as possible. And buy the best samples you can afford. Happy composing, Ken
Ken, Thank you VERY much for the details, I take your comments VERY seriously and often experiment with the sounds or with the suggestions. If I never did this, I would be robbing myself of education which is invaluable for musicians. Please know I appreciate your time. Best~W
Sorry to bust in on this thread but i enjoyed Ken's comments very much as well .
Thanks, Steve, and I must say I really enjoy your tunes; your mixes are awesome!
Thank you kindly for reviewing "Oh No"....I am a bit confused as to why you felt the arrangement, wanting to hear more from me, and the overall rating was so, well under rated at 3/5? I usually explain myself to other musicians as to why I felt there could be improvement in those areas otherwise what good is our reviews? Best~W
Hello Will, Listened again this morning and should have given the track a 4.....sorry about that......I did listen to a lot of songs last night....and I'm not an expert on instrumentals....so just reviewed it as a fan.....and therefore subjectively..... Good luck. Cheers Laurence
Laurence, Thank you for the re-listen...I was just wondering as I am very interested in everyone's feedback on this site as it is designed(I believe) to help us all. None of us are an 'expert' otherwise we'd wouldn't need this site now would we? :) I appreciate the time you took to listen to my music. Many blessings~W
Austin, Thank you for your attention to detail when reviewing "the Day of Reckoning"...I wrote that track many years ago when my first band I was in was falling apart. I might re-record ALL of my popular thrash metal stuff if I get enough interest. Thank you again. Best~W
No problem Will... it reminded me of the way the old Type O Negative albums sounded :) ... and that middle breakdown is killer! Nice one! -Wes
I hear old school Carnivore in there.
Haha, yes both of those bands came out right after we formed in 1985. Good ol days
Nice!
Ben, Thank you for your kind review of "Victory in September". I think I might have over compressed the reverb on the mastering for this track. I need to go back and re-master it and also add the spatial displacement you recommended. I have used that quite a bit since you showed me that trick. Many thanks and congrats on the Rock top ten! Bravo! Many Blessings ~Will
Greetings Will, I am very glad it was useful. I think that it is dangerous to use compression on the master fader. But if you do, always put the compression before the reverberation. That is to say, avoid at all costs compressing reverb. I personally think you can get better results if you compress singular tracks if they need it. Cheers!!
Thanks for taking the time to review one of my songs, Will...I appreciate the great comments. Mark
Mark, It is my pleasure. Good luck wit all your endeavors and many blessings... ~W
Hi Will, thank you for the kind and constructive review of 'whitecrow', I appreciate your comments.
No problem...always admire your work. Best~W
Greetings Will- in answer to your question: Well, it is my policy not to let others re-title my songs to be re-registered with ASCAP or some such. This is so because it only sets up another block to get paid( or not). They usually pay but you dont get access to the royalty payouts because the songs are re-titiled. This phenom is something rather new...I am wondering if ASCAP would have a legal beef with it as it flies in the face of what their mission statement its. It is not an uncommon contract. But as Mr. Elkins is fond of pointing out, you have the power to negotiate the contract if you desire. I personally dont sign contracts until my attorney takes a look and tells me "their crooks". or "consider renegotiating these points" or "its a great arrangement, win win". That said, I will confess that music composition is my day job, and my night job. It has been since before I joined Broadjam. Broadjam for me has been career enhancement, not a career starter. And it is not the only resource one should consider. The more hats you have your name it at first, the better. That is, until you meet someone wearing the hat. Last time I discussed this openly here Roy made a good point, "(paraphrased) some people just starting out need any opportunity to gain experience, recognition and industry contacts." I dont know where you fit Will, but if this is the case it is not all that bad. It may take longer than expected to get paid though because they will be collected 50% on sync, and writing you a check for your royalties too, (because they rename and re-register your work). At the risk of sounding arrogant, though I am not, , my composition and productions occupy a unique niche in the industry, for a name brand equivalent, it would cost far far more than to hire me or license my work. That said, I have leverage when others want me to sign a contract; leverage is they key to persuading the final outcome of any negotiation. hope that helps. Cheers!
I am not sure what happened to my original response, I accidentally deleted your post when I was correcting a typo.
lol, No biggie, I was just mentioning that I am also signed with another library that "re-Names" their tracks...a characteristic of greed today. It is a recently developed phoneme that every new library seems to do. I hope you do well with them and the other ventures I see you had success with. Thank you kindly for your time. Many blessings~W
Sad to report that I looked into Ben Kopec myself, a virtual nobody who's m.o. is to come on here find music , then market it as his own. Maybe he will pay you if you sign with him on his terms, (he would not negotiate, because he cant) Check epitome music out google them. Ben Kopec is just another hack who is trying to make it like you.....only he is not a member of BJ. Thieves rarely negotiate, best to push them to the "fuck off" state of being ASAP. That is my philosophy. Anyone who wants to re-title is a GODDAM CROOK!!! Users and takers like this don't even deserve my spittle.
Ben, No kidding...I have never heard of them...he has posted quite a number of "seeking music" from orchestral to rock and pop. Good detective work. Thieves never make in this world, here one minute, gone the next.
Greetings Will- Well, it is my policy not to let others re-title my songs to be re-registered with ASCAP or some such. This is so because it only sets up another block to get paid( or not). They usually pay but you dont get access to the royalty payouts because the songs are re-titiled. This phenom is something rather new...I am wondering if ASCAP would have a legal beef with it as it flies in the face of what their mission statement is. It is not an uncommon contract. But as Mr. Elkins is fond of pointing out, you have the power to negotiate the contract if you desire. I personally dont sign contracts until my attorney takes a look and tells me "their crooks". or "consider renegotiating these points" or "its a great arrangement, win win". That said, I will confess that music composition is my day job, and my night job. It has been since before I joined Broadjam. Broadjam for me has been career enhancement, not a career starter. And it is not the only resource one should consider. The more hats you have your name it at first, the better. That is, until you meet someone wearing the hat. Last time I discussed this openly here Roy made a good point, "(paraphrased) some people just starting out need any opportunity to gain experience, recognition and industry contacts." I dont know where you fit Will, but if this is the case it is not all that bad. It may take longer than expected to get paid though because they will be collected 50% on sync, and writing you a check for your royalties too, (because they rename and re-register your work). At the risk of sounding arrogant, though I am not, , my composition and productions occupy a unique niche in the industry, for a name brand equivalent, it would cost far far more than to hire me or license my work. That said, I have leverage when others want me to sign a contract; leverage is they key to persuading the final outcome of any negotiation. hope that helps. Cheers! p.s. Sorry I accidentally deleted your post when trying to correct a typo.
I have NEVER reviewed any material by YOU or a song called Dansale Punx...YOU are mistaken...I will report this to BROADJAM AS A QUIRK...Sorry you had to experience such an event
Thank you kindly for your review of "Get your head Right" although I don't quite comprehend the vocal pitch rating as they are all loops and computer accurate pitch controlled. I also do not even write in the rap genre so any helpful critique is something I treasure. Please feel free to expand on the rating you lef to help my cognition of the critique. Best~W
not the loops the.... the girl with the verses who is rap talking
Yes, but again, those too are loops....sorry you didnt get that but ALL the vocals I use are loops and recorded samples. Thank you again for your time
no problem-- you did a great job composing the song-- maybe bring the verse vocals of the girl rap talking up in the mix quite a bit; so they are above instead of inside-- try it out it might make the verses POP
Lou, Thank you kindly for the excellent review you gave "Oh No" and the time for reviewing it. I appreciate any comments from a fellow musician and songwriter. Best~W
YOURE WELCOME. LOU
Thank you for taking time to review my arrangement "November Gray"...although I agree with your opinion of the samples used on the track(it was stock, hence done prior to my investment in Audio Bro's LA Scoring Strings samples which are on many other classical tracks) I do not agree that it hampered the arrangement, the writing, the recording, or any other of your extremely bad ratings you left on my scorecard. Please evaluate these areas when you leave these areas so poorly scored as it affects the ratings of the track. I always explain WHY I have scored an arrangement/ recording so poorly(although I never scored a track as low). I am only trying to help the scoring of the next tracks, not mine as it is over with. Again, thank you kindly. ~W
Thank you kindly for taking the time out to review my arrangement, "Servitude". You had some very kind words and made my day. Best, ~W
Hello Robert.... Thank you for reviewing "Into The Unknown" sometime ago, I am very late in thanking you because I never saw the review until today. You gave me some good detailed advice unlike many other "reviews". Again, many thanks for your well thought out review. ~Will
You're welcome, Will. Always enjoy your songs.