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Reviews for "The Concept of Time"

I feel really bad that you have given my track 5 stars and that I'm unable to give these back. :/
But at the end I'm being honest about my review!

I liked your previous composition way more than this one, especially in terms of orchestration and instrumentation.

Let me start off with the instruments. I'm unsure whether I really do hear the named windwoods here. I think I have heard the flutes here and there in the counterpart (the middle part), but I'm unable to hear any clarinet or contrabassoon - this was a bit disappointing. :(

Another thing would be that you have repeated the first busy movement. I definitely can hear more instruments being used in the second part, but here I would have wished if you extended the melody some more. Doing this in a longer soundtrack with let's say the double length (6 minutes), this would be totally fine to do though.

The counterpart starting at 01:12 was well done in general and serves well to have the soundtrack "calm down" from its dramatic feeling. The transition into the part also was a nice idea to do!
I also like the idea of using sounds being familiar to the sound the clock does. That was a great idea. :)

The mastering and mix is top-notch! And thank you for the suggestion about the -0.1db :)

Suggestions for the future:
- To make 16th notes sound more organic and realistic, try to play around with the dynamics of the several notes. Here is an example of what I mean: https://i.imgur.com/60CXnAE.png
- Here and there, use some stacs for the lower end instruments. It makes it more interesting.
- Use more windwoods for the quieter sections. They tend to get lost if they are played along brasses, especially if the brasses are played in forte/fortissimo.
- Use more variety within the melodics, or use more bars to complete a melody before you repeat it (for examples: 16 bars melody instead 8).

I wish you good luck into the finals, and whoever is going to be the winner, you always are free to contact me in case you need advice for future soundtracks, or have questions related to instrumentation! :)

And I hope my critism didn't hit you too harsh. Head up!

KevinMueller responds:

Thank you for your honest review. Washing a review down just to sound nice serves no purpose, so I'm glad you wrote your honest opinion.

About the instruments:
Yes, the contrabassoons are not really audible, but that is not why I used them. They are mainly there to fill out the bass frequencies which in return results in a clearer mix and a more "massive" sound. You're right about the clarinets though. I used them in the B section, to provide some additional harmony, but they are so quiet, that I could have probably just removed them all together.

The A2 part could have been a bit more creative, I agree. :P

Regarding the 16th notes, I already do that with all of my ostinatos, along with some other humanization tricks.
In terms of staccatos on the lower instruments, I think you're right. It might become a bit boring, playing only sustained notes.

I tried to go less "classical" with this composition, which is probably why you didn't like the orchestration / instrumentation that much. I focused more on the sound design and overall hugeness of the sound.

Thank you for your offer of advice. I'm happy to hear it, because I really want to improve on the more classical side of my soundtracks. And to my ears, you're an absolute master in that regard!
I'm happy to return the favour; if you ever need advice in terms of mixing or whatever, feel free to contact me. :)

Thank you very much for your honest words and the great tips.

Good luck in the finals!

God, I love this.

KevinMueller responds:

Thanks, I'm glad you liked it!

Oh my gosh, this is so good, I love it!!! Seriously, great job!! This sounds very Hans Zimmer-esque to me. Zimmer is one of my absolute favorite film composers. I’m curious to know, which film composers would you say were your inspiration for this? :)

KevinMueller responds:

Thanks for the kind words. :)
Hans Zimmer was definitely an inspiration for this, as were many others, like for example Thomas Bergersen.