- This topic has 7 replies, 7 voices, and was last updated 9 months ago by .
-
Posts
-
What do you find is the best approach when asked to provide 30/60″ edits as well as full-lengths ?
I was thinking of writing the short-form version and then extending it. That would ensure that the edit versions have a cohesiveness to them and don’t sound like a butchered version of the full-length. But every library composer I’ve asked so far does it the opposite way around.
The album is in a modern classical style which I think is harder to edit than loop/pattern-based tracks. If I start with the 30″ then at least I know I won’t write long phrases or chord progressions that don’t fit in 30″ !
Yes, sometimes it’s not easy to do the short versions because of the tempo and chord progressions. I don’t cut them from the full tracks, I do it in my DAW project. There you have more flexibility to edit the length of different parts of the track.
I found a lot of good info on making edits and 30″ versions here: http://bit.ly/1HcNPou
If you have Cubase there is an arranger mode which non destructively allows you to re arrange a project.If happy you can then flatten the “arrangement” to the timeline. Brilliant feature for edits.
Yes thanks DI there seems to be a lot of good info in that thread.
Your particular genre–classical–indeed presents the opportunities (and thus challenge) for longer thematic ideas such that it’s indeed a good idea to check the length for :30 compatibility as you go.
When I’m composing, I’ll indeed write the full-length version, but before committing it, I’ll immediate set to work on the :30. Most of the time, I find I can create a cohesive cutdown so long as I can change the tempo by plus/minute a few BPM. Tempo’s one of those things that while writing feels like a bigger difference as you’re adjusting it then when you have the chance to get away from the track and come back with fresh ears. Once I have the 30’s tempo nailed I’ll use it on the full length and other versions.
Len
For me, linking to Rjay’s comment, the most important part of this job is composition and on that basis, shortly after creating the initial idea I will be sketching and exploring the opportunities for Sting, 15, 30, 60 and Full. Varying tempo, rhythmic backing, motif development opportunities etc helps you identify where a track is comfortable and where it works. Again for me, each edit needs to sound like a complete standalone piece – that’s the job in my opinion.