360 degrees

PeteM

It’s amazing how my life has turned a full 360 degrees.
In 1970, as a struggling 24 year old muso, I was approached out of the blue by an ad agency to write a couple of jingles. They proved to be successful and I kinda left the music industry to enter the main stream advertising thing, something I hadn’t contemplated at the time.

Now, retired and out the ad scene and re-pursuing my love of music by reforming our band from 40 years ago, again I was approached out of the blue a week ago by an ad agency to write and produce a two and half minute number as background music to a video production promoting a baby product.

The brief was to produce a number that was not too soppy and not the ubiquitous nursery type approach. And that the number should have a rhythmic beat.

I approached the composition to have a simple melody line, since a lot of cuts from library music which I have used in the past to sit under a voice-over were too busy and more often than not fought with the voice. So, I also pushed the melody line low in the mix for the same reason.

I did not have the luxury of writing the piece to picture so I deliberately arranged it into 4 and 8 bar measures so that the video editor would have the flexibility to cut and paste the segments to suit to production.
It also has a deliberate end and not a fade out since, again, in my experience, there’s nothing more irritating than not having the availability of a finale if and when you might need it.

You can find an MP3 of ‘Warm Touch’ at http://www.box.net/shared/nsbfx0omo3

I would appreciate your comments.

andrewjbryson

"And all things return..."

Very cool Pete, I dig it!

And yes, lots of space for a voice over. And I think you hit the description/theme quite accurately.

So have you submitted the final master yet? And did they like it?

PeteM

andrewjbryson wrote: So have you submitted the final master yet? And did they like it?

I played them a first mix - they loved it. Got some feedback from the director and made a few minor changes to the mix.

Riaan

Well done Pete, a really nice tune. I'm no expert but it seems spot on to me. Not soppy and definitely not the nursery type of thing, yet still has a kind of "family" kindness feeling to it, which is what I guess they were after.

aubs1

Nice one Pete.......while listening, I can almost "see" the mother and the very happy baby in just about any of those J&J (I obviously don't know exactly what the product is) baby products.......well done!! ?

Squonk

Very Good Pete ?

Full circle?

sepheritoh

Hi Pete

I am really happy for you that your life is getting somewhere, while my life is taking the zero degrees turn.

About the tune - I love it. It has a kind of sound between surf sound and country. This is off course exactly what would work for commercials. It is also not too obvious while the baby takes his or her first step toward crapping in the designated nappy.

I like your idea of having a real end instead of fading away. I just wonder if the advert director would not cut it anyway because it is just too long. The synth backing sounds a bit cheesy and proper strings sounds may have sounded better. Keep in mind that this would end up as a backing track in an advert where no one would have the time to really worry about that, so it is not much of an issue IMO.

Well done and congrats!

PeteM

Hey Guys - thanks for the feedback - much appreciated.

sepheritoh wrote: The synth backing sounds a bit cheesy and proper strings sounds may have sounded better. Keep in mind that this would end up as a backing track in an advert where no one would have the time to really worry about that, so it is not much of an issue IMO.

Fully agree with you - it's all that I have at present - but the number needed a swell to create a dynamic. I could have booked the KZN Philharmonic but I might have overshot the budget a bit ?

DonovanB

Pete have you seen that Roland guitar Synthesiser? it get's incredible sounds out of it.

PeteM

DonovanB wrote: Pete have you seen that Roland guitar Synthesiser? it get's incredible sounds out of it.

No, not yet - but if it looks like I'll be getting more work in music composition and production, I'll have to look into something - be it guitar or keyboard synth.

AlanRatcliffe

Take it from someone who's played guitar synths for 15 years - if you can play keys, get a keyboard.

If you ever want help with sounds, PM me - I have Vienna Symphonic Library and lots of other sample libraries. You can just send me a midi file of the parts and I'll run them through the sampler and print to a wav file and upload for you to get and import. Same with drums (although I'd probably only use your parts as a guide) - I can also send back each drum/instrument as a separate file so you can mix to taste. ?

DonovanB

Alan Ratcliffe wrote: Take it from someone who's played guitar synths for 15 years - if you can play keys, get a keyboard.

I can't play keys, yet I have a keyboard... time to start practicing I guess.

PeteM

Alan Ratcliffe wrote: Take it from someone who's played guitar synths for 15 years - if you can play keys, get a keyboard.

If you ever want help with sounds, PM me - I have Vienna Symphonic Library and lots of other sample libraries. You can just send me a midi file of the parts and I'll run them through the sampler and print to a wav file and upload for you to get and import. Same with drums (although I'd probably only use your parts as a guide) - I can also send back each drum/instrument as a separate file so you can mix to taste. ?

Thanks Alan - sounds good ? It's a must to have the availability of strings, woodwinds and brass to fill in the holes as well instruments like glocks to add flavour.
Yeah, I'm not the best keyboard player but I do realise that keyboard would give me more flexibility and accuracy for synth work.

AlanRatcliffe

PeteM wrote: keyboard would give me more flexibility and accuracy for synth work.

Exactly! Also saves time, because you invariably spend a lot of time editing the MIDI data to fix glitches.

PeteM

Alan Ratcliffe wrote:
PeteM wrote: keyboard would give me more flexibility and accuracy for synth work.
Exactly! Also saves time, because you invariably spend a lot of time editing the MIDI data to fix glitches.

Yeah, and I'd rather spend the time becoming more proficient in keyboard playing than fixing midi glitches. For me techno is the tool to enhance expression.

FenderBender

Hey Pete I really liked it! Gives me the same feeling I used to get watching the classic VW ads.

PeteM

Graeme Parfett wrote: Hey Pete I really liked it! Gives me the same feeling I used to get watching the classic VW ads.

That's a hellava compliment!!!! - thanks ?

AlanRatcliffe

I've taken a good listen to it a few times now. Composition is good and all the guitar sounds are great (is that all the ES-330? Some very bright sounds in there). Melodies remind me of something, but I just can't put my finger on what.

The drums and strings are where I have a bit of a problem. Drums are very unnatural and the kick isn't always locking in with the bass (or vice-versa depending on how you look at it) which I think it should for something like this. The strings are also a bit unnatural and are jarring at times (have you tried shifting them up an octave? Might work...). I'd probably keep the strings in the whole time - just lower volume, and swell them up where you want them more prominent. Will also make cut 'n paste a bit easier for the producer if the strings are more continuous.

PeteM

@Alan
I used the ES330 for the melody line and harmony part. This was achieved with the following:
A Roland Cube 60 which has selectable amp presets. I used the Tweed setting on maximum drive and flat EQ using the neck PU on the 330. Placed a Sennheiser e835 30cms away from the speaker to get a little bit of studio ambience and to obviate a bottom end pre-emphasis. Added compression and reverb at mix and panned each of these tracks to 75% left and right.

The main arpeggio guitar part is the ES330 through the clean channel of the Cube 60 – also flat EQ and using both PU’s on the 330. No reverb at mix but a bit of compression. Panned left 30%.

A secondary arpeggio guitar part is the Nylon Cort using the chorus effect on the amp with the Black Panel amp setting and with 50% drive for sustain. Used a bit of presence on the amp to brighten up the nylon. Panned 30% right and added a little bit of compression and reverb at mix to push it back a little.

Rhythm guitar part is the Cort nylon plugged straight into the sound card. (Wanted it very dry). At mix, added compression, rolled off bottom end and added upper mids to sit comfortably in the mix. 15% pan left.

Bass is the old short span Yamaha played through the Cube 60 with a little bass lift and treble and presence roll-off. Volume balanced to get the best bass sound out of the speaker. (A boer maak a plan). No pan.

The drums and strings are Audition samples – very dated but all that I have at the moment. I tried the octave bit but they screeched like crazy. I know, I know, the weak links in the chain.

Agreed, the overall execution could have been tighter – but hey, it’s the first one in along time – can only get better.

Yeah, strings would have been good throughout but the director wanted a section without the strings, which I didn’t mind considering the quality.

I take the melody comment as a compliment Alan. It is original (although who knows what influences we have?) When I write a melody, particularly for this kind of application, my objective is to make the listener comfortable and not to have to work to hard. – it should feel familiar.

This is quite a long reply, but I felt that I had to give justice to your insightful crit Alan.

Thanks for your crit and the time spent on it, just what I was looking for – always grateful for positive, knowledgeable input. This is what makes this forum so great.