Hey guys!

Back for some more helpful feedback, from my previous tracks some said i use too much reverb and maybe i do just because sampled instruments sound less "Sampled" when they are muddy . .
So i composed a new track and tried to keep it as dry as possible while trying to achieve a hall sound, so need your opinion guys, does it sound too dry? and is it realistic?


Thanks !

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  • Jerry Soule's extremely wet Skyrim soundtrack works well mostly because it's based on big, slow textures rather that melodic/harmonic progress, imo. Notice that the battle tracks have way less glue covering them :)

    That being said, your piece works except for the lack of proper legato that kills the smoothness in some of the sweet melodies you have there. What samples are these? If there's nothing good about them, you can always try and layer some extra transitions with long attacks to cover up the lack of natural slurring, rather than drown everything in even more reverb.

  • Thanks for the reply guys!
    Well i used the tremolos to give out some more air, for some reason the samples are a lot more "Airy" when it comes to the tremolo samples.

    Yeah soule's work is literaly drowned in reverb, but as soon as i tried doing it, it all sounded as if no dynamics were present . . it was so hard to find the right balance, and i have to say i tried, so i kept it a bit more realistic.

    i heard in an interview he does 6 layerd reverb FX channel . . that's . . a lot.

    Could you point out the time where you feel the legato dosent sound good ? but i have to say there are 3 layers in this track for each section of strings . . from LASS, 8Dio and Cinematic Strings . . so i did try and fill it up with legato patches  do you mean the attack on the legato is slow ?.

  • It's a matter of having actual attacks (the beginning of a bow stroke or a breath) on every note, rather than skipping them on those that are a continuation of a stroke/breath. Examples - 1:08, the grace note at 1:27. And honestly I thought about many more of these, but now that I'm through yet another listen, I think most of the punctuated rather than slurred melodies are actually intended this way. Not sure if I like it, but that's your call. I would probably play all the solo melodies more legato, with specific bowing/slurring in mind. I suppose it works fine enough with most of the notes detached as they are.

  • Ok i see your point, it was intended this way i guess it's a matter of taste :)
    but how the mix? that was the original question :)

  • Yeah it's all right as far as I can tell (would need a real listening setup to pick up on the subtleties). I would maybe pull the harp/lute/whatever back a little bit.

  • In my humble opinion:

    - The harp is too close... I'd use different samples (for the harp), and definitely more reverb on it. If you don't have better samples, try a slower attack.

    - I'd personally put a lot more reverb on all solo instruments (violin, e. horn), and maybe a very soft delay.

    - The bass frequencies could be a bit louder in the mix (master EQ at something like 60-70Hz?).

    - Tremolos in a real orchestra sound great played by the cello section, but muddy in the bass section. I'm not sure if you're using bass tremlos here, but if so, I'd replace them by sustained notes (and keep the celli tremolo).

    - I wouldn't mind hearing stronger dynamics. Even if it's considered "bad technique", volume automation on the master channel can do magic.

    - I really like the amount of reverb, but I personally don't really like the sound of reverb. Convolution reverbs help with colouring the sound, but algorithmic reverbs usually sound a bit smoother. I'd use a soft convolution reverb (a large, "dry" studio instead of a hall) and then do the actuall hall sound with an algorithmic reverb.

    Again, just my opinion, no absolute truths. :D

  • Yeah maybe i could have pushed the harp back a little . . 
    I tried and keep reverb to a minimum because most realistic hall recordings i hear sound pretty dry . . i mean traditional ones, not including ones like balfe or hansi, more like horney and williams :P
    The bass freq were balanced because if i increased it more then i did i would get this bass muddiness on some notes on my Bass strings.
    Bass played the sustains and Cellos and violas played the Trem.
    Could you point me to any materials that explain and show the difference between Convolution reverbs and algorithmic ones?
    I don't think i understand the difference.

    Thanks for the input guys !

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