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Posted: |
May 31, 2016 - 7:47 PM
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By: |
KevinSmith
(Member)
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Hello everyone,
After the success of the last Composers Challenge with a clip from the award winning video game 'Dear Esther', I have started another Composers Challenge but taking it into the science fiction/action category.
Mass Effect 2 is an award winning video game and a part of the most loved game sagas in history. Its mix of science fiction, action, drama and sheer epic nature makes it the perfect candidate for a challenge:
The scene is from the action-filled opening. I picked this scene because it allows the composer is weave together this sequence musically and be able to flex his/her musical muscles:
https://www.youtube.com/watch?v=0rcc6NlSbyA
For those of you unfamiliar with this scene, our protagonist Commander John Shepard and his crew aboard the SSV Normandy are on patrol for enemies in the Terminus Sector. They come across something they were not expecting to find.
Do not be scared away due to the length of the scene and feel like you need to score it wall to wall. Depending on where you choose the point of where the music should start and stop, there could actually be less music in the scene than in the previous challenge of Dear Esther. But I do promise that the next Composers Challenge will have a shorter scene.
The deadline for this challenge is August 1st. Either the composers can:
a) upload their own entries to YouTube (but unlisted) and send me the link so I can make a playlist.
b) send me the music file (through a file sharing website), tell me where the music goes, and I can do it myself. The music file should be MP3 or equivalent.
It is important that the entries be anonymous. The identity of the composer videos will be announced after the voting has finished.
In regards to the voting, the composers, or anyone else who wants, will submit their votes/rankings by rating each entry out of 10 and also ranking each entry against each other. The two voting methods will be averaged and the top three will be announced.
Everyone will receive reviews on their efforts (either from other composers, members of the community or myself included). The composers of the challenge are requested to give a short review of the other works. If anyone who finishes outside of the top three wants to know how they did, then contact me. If anyone not participating in the challenge wants to be a reviewer, you are more than welcome to.
The prize for winning the Composers Challenge would be either one of the following (depending on the winner's preference):
a) A CD paid for by me shipped to the winner's address
b) A cash equivalent (up to $25-30 Canadian (exchange rates pending).
c) A copy of Mass Effect 2 purchased via Steam or Origin.
If you have any questions, concerns or comments, please contact me at composerschallenge at hotmail dot com.
Best of luck to everyone and have fun!
Kevin
PS: I forgot to mention that anyone who directly plagiarizes from the original Mass Effect scores will be disqualified. Use your own voice, not someone else's.
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Oh crap, I miss remembered -- I thought the deadline was July 1. Here I was studiply sitting here waiting to hear entries. :-)
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QUICK!!!! Let's push it off the 1st page!!!!!
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Well done to everyone who took part; and congratulations to the winner!
Here are Synchrotones' ratings and reviews, for those interested.
Ranking:
9 (8.5)
2 (8)
8 (8)
1 (7)
3 (7)
11 (6.5)
4 (6.5)
10 (5.5)
7 (5)
6 (3)
5 (2)
A few general observations:
It was a lengthy clip, containing different scenes. Not all of it needed scoring; and I’m pleased that most (if not all) composers picked moments where the music should come in, and exit. That was generally really well done.
I’m surprised most went for a traditional orchestral approach. I was expecting more techno.
I’m disappointed at the lack of any strong thematic material. There are a few cues with a half-decent theme, but most focused solely on suspense and action.
ENTRY 1:
This cue opens with a suitably dramatic intro; and I like how you use the hologram sound-effect to fade out the music. I like how that first piece of dialogue is left unscored. The ‘spotting’ is generally pretty good throughout this clip. As the enemy arrives, the music returns with a piano chord, which feels a bit out of place against the dark strings and brass. Initially I quite liked the ‘action’ music. It’s simple but effective; and the brass chords remind me a little of Horner. But it’s all quite understated and as the scene progresses, the understated nature of the music starts to hold the scene back. However, from the 3.30 mark, the clips takes a bit of a turn and the music fits perfectly again. The electronic bass line is simple but very effective and works well with the brass. The transition at 4.40 feels a little too abrupt. The destruction of the ship is scored with all the right chords, but is still lacking a bit of ‘oomph’.
Pros: nicely spotted, music follows the clip reasonably well. Some decent samples here and parts of the cue sounded totally ‘authentic’ (as in: could’ve been from the real score as far as I’m concerned).
Cons: Some samples sound better than others, a little bit inconsistent. A few dodgy transitions. A bit too understated during the action sequences. No sign of a theme.
Rating: 7
ENTRY 2:
Cue opens with an eerie piano opening, which then transitions into an oddly upbeat section for light strings and light percussion. I think the music here [during the opening dialogue] is a little too active; however it gets better when it tones down and focuses on tension. The action music that follows the first shot is reasonably effective, though parts of it sound better than others (samples). Nice Horner-ish stoic/heroic theme is introduced. It just adds a touch of emotion to this scene. The Hornerisms continue throughout this action sequence. Nice transition around the 3.40 mark to the next scene (with more Hornerisms). Then the blue scene. Good on you to leave it quiet; and nice how the music returns via tremolo strings. Nice transition to the next action scene. I recognise bits and pieces of the stoic/heroic theme, but I would’ve liked a more obvious statement. Some cool almost-blasterbeam-like sounds; followed by a nice eerie ending.
Pros: Some really good transitions between scenes. Some convincing action music. The stoic theme works great against the action music.
Cons: I think the opening scene is scored too hectically and too upbeat. Mixed quality of samples.
Rating: 8
ENTRY 3:
Great opening (except for the gong). I like the restraint by not introducing the music too soon, and leaving some spaces. When the action starts (1.35)… the music is rather cartoony all of a sudden (largely due to the flute runs); and did the composer switch to a cheaper keyboard? What’s going on? It started really mysteriously and cool; and now it’s turning into pirate music? The music does follow the scenes very well and I like the dramatic/stoic theme you introduce. As we go through the ‘blue scene’ and onto the next action sequence, the music still follows really well. I like the heroic theme; and the orchestrations are better here than earlier. But… I’m not sure that heroic tone is really suitable here. The music is probably emphasising the heroic rescue, but considering it’s futile I’m not sure a full on heroic theme suits. That said, it’s the most memorable theme so far and I do really like it.
Pros: Great theme. Great opening. Follows the scenes well.
Cons: variable sound quality. A lot of the action sounds too light, too cartoony.
Mark: 7.5
ENTRY 4:
Dramatic strings open the cue, followed by heavy percussion and deep brass chords. It’s cool, but I think it’s too loud over the dialogue. The music then goes quiet as the enemy is sighted. Mh, not sure about that; feels like it the wrong way round. As the action begins, brass and percussion come back in. It’s okay, but it’s not really doing it for me. I feel like it’s too slow. However… There’s a great moment where the beat drops and strings come forward (3.00). This bit is very effective. We pick up the action with a heartbeat drum, which is functional enough. It’s interesting you then drop the music, which actually works quite nicely here. When the action picks up again and things start to explode, you introduce an electronic arpeggio and later some bass and percussion. I like it, but… what? It doesn’t fit the action sequence, though works okay against the emptiness of space. But it’s a complete departure in style and sound. My best guess… it’s another piece you once wrote and you tracked it in. I’m not against that at all, but if that’s the case (or even if you deliberately changed style to indicate a shift in the game) I think that final destruction scene feels a little understated. Nice effect on the explosion before your drum kicks in. I’ve got mixed feelings… but ultimately have to admit that it does work.
Pros: it’s functional. Really liked where you dropped the beats, where the crew member dies. Some nice choices as to where music enters or exits.
Cons: A lot of the music doesn’t quite fit their scene. Total change of style towards the end. I can see why, and it’s reasonably effective, but I have mixed feelings about it.
Rating: 6.5
ENTRY 5:
Opens with dramatic strings and a quick female vocal, but it leaves me feeling..nothing yet. Then we get only a few notes during that initial bit of dialogue. I don’t mind, but I don’t think the oboe is the most suitable instrument here. As the enemy arrives, there is no music to raise the tension. When the action begins and the music finally kicks in… It’s rather underscored. I’m not getting a sense of drama, or urgency, or danger. For the next few minutes, music comes and goes but it’s still very underscored. There is the occasional dramatic brass chord, but for the music little seems to happen. And then… eventually, all of a sudden, we get some retro synths! What the heck? I’d love to hear about the thought-process here, because it makes zero sense to me. It’s not even a particularly interesting piece of music, I’m sorry to say. Strings and a quick vocal during that closing moment. This is the only part of the clip that makes some sense.
Pros: Sorry – I got nothing. Maybe that vocal in the beginning and towards the very very end.
Cons: Underscored. Lacks drama, lacks urgency, lacks danger. The sudden cut to retro synths. The lack of any recognisable melody or even harmony.
Mark: 2
ENTRY 6:
Whahey – an opening for horn! Then oboe and snares and harp. Not sure this works. Flutes comes in. I think I sort-of understand what you’re trying to do, but it’s under-orchestrated. Same when the action comes in. You introduce brass, rolling timpanis and frenzied woodwinds. You’re doing a lot of really fast notes, which really does nothing. It only emphasises that you’re using cheaper gear. I’m not dissing your gear, but you’ve got to work within the limits of your gear. But, I get what you’re trying to do. The key reason it doesn’t quite work here is because it’s too thinly orchestrated. You’re scoring some of the action with timpani, flute and oboe. Elsewhere it’s strings and a triangle. I get what you’re trying to do, but it’s lacking a bit of finesse. Then we move into the ‘blue scene’… scored with baroque-like harp and flute. Sorry, it doesn’t work against the clip. It’s the wrong tone. Then back to the action, a valiant effort; followed by a quiet ending.
Pros: a nice effort, heart is in the right place. For the most part the music does (or tries to do) what it’s supposed to be doing.
Cons: Too thinly orchestrated. Too many repeating notes when your gear isn’t good enough to pull that off. The music is the wrong tone for most of the clip (too light, too frivolous).
Mark: 4
ENTRY 7:
Opens with very calm music for piano and cello… sounds a little incongruous. As the action unfolds, the composer introduces cello arpeggios with a violin melody (of sorts) over the top. I’m not sure it’s right for the scene… it’s a bit too thin. An action scene like this needs a bigger sound. Strangely, once the escape-pods have been launched, the action music improves a lot (did you switch to better samples? And got inspired by POTC?), but fades out poorly for that ‘blue scene’. When the music returns it’s a dry piano which sounds cheap. Again, I’m not convinced… but if it had a tonne of reverb on it, it might have created a sense of space and infinity. As the clip comes to an end, I gotta say the piano and cello work quite nicely as an elegy against the explosions on screen.
Pros: for the most part it follows the narrative of the clip quite well. The piano and cello do, eventually, work quite nicely at the very, very end.
Cons: The orchestrations are very thin, lacking the scope this clip needs. Also, not sure the small selection of instruments generates the right sound for this hi-tch, sci fi, action-packed clip.
Mark: 5
ENTRY 8:
Opens really cool with dark chords. There’s some decent thriller music, maybe slightly let-down by the flute (a little too corny). Tension is building really nicely. The first action scene is scored quite well, though I’d have preferred a little more reverb to make it sound a little more powerful. Interesting how the music sort-of disappears but returns just before the escape pods are launched (though could’ve emphasised the killed crewmember). The action continues quite nicely (reminded me of Horner and maybe a little Williams). Some nice mysterious music during the walk amongst wreckage (blue scene). Action picks up again; and again it’s very good. Just wish it sounded a little fuller. It follows the scene very well, hitting most, if not all, hitpoints. Neat ending!
Pros: Follows the clips very well (for the majority of the time). Well written, well orchestrated. At its best, it’s very convincing.
Cons: Could’ve been mixed a bit better with some (more) reverb, just to add more width and depth to it. There’s a slight discrepancy in the quality of the samples. Some instruments sound better than others. (Not the end of the world, but a little distracting). If this had something of a recognisable theme, it’d be even better.
Mark: 8
ENTRY 9:
Neat opening, I’m reminded of Interstellar. Simple and atmospheric. Tension builds nicely, with a cool transition to some action music, which sounds really big… but I’m struggling to hear what’s actually going on. I can hear string arpeggios and big string chords (again a little Interstellar-esque I think). Music continues mysteriously, following the scene nicely and only dipping in and out as and when necessary. After the escape pods launch, the music becomes a little more electronic (unless it already was, but now we can hear it). That last action sequence is scored really nicely, more ‘noble’ than ‘action’ though it does keep building to a big climax; and a quiet resolution.
Pros: follows the clip really well. Really like how you spotted the music. Sound quality is great; clearly a decent library, but also the mixing is great. Sounds totally convincing. Can’t really fault it technically. Apologies for the short review… can’t really find much to say (in a good way)!
Cons: Maybe…could’ve done with a recognisable theme. A little fuzzy during the action scenes (I can’t really hear what’s going on).
Mark: 8.5
ENTRY 10:
Did you mean to harmonise the horn with that hologram sound effect? Works nicely. Tension builds quite nicely. Not the greatest sound-library, but the intention is good. The action music (from 1.30) is less convincing. Same issue as some others (and I totally appreciate it may be a technical limitation) in that the music is too thinly arranged. You can’t score an action scene with a bassoon arpeggio. That’s probably not what it is, but it sounds like it. Also, be very careful using staccato patterns. It’s just going to sound ugly. Surprisingly… the string arpeggios leading up to and during the pod-launch sequence support that scene very well. I’m not totally convinced about the piano during that quiet sequence (blue scene), but I get what you’re trying to do. I like how the destruction scene is scored (with the exception of the piano runs. It sounds too cartoony… silly, even).
Pros: music follows the clip pretty well. The use of choir does help to make the music sound a little bigger (good choice). There are some really nice moments. And it’s certainly functional (as in: does what it needs to do).
Cons: I’m not sure about that piano. Be careful with staccato writing. Could’ve been orchestrated a little deeper to give it a bigger sound. I wish it had some more recognisable elements to it (i.e. theme).
Mark: 5.5
ENTRY 11:
The music sure creates tension and provides a sense of urgency, through simple but effective methods. The downside is… it’s very repetitive. It’s the quality of the samples and the mixing that saves this music. Don’t really know what else to say. It works… but that’s about it.
Pros: it works really well. Samples and mixing sound good; in fact… they save the day.
Cons: repetitive, no deviation from central idea.
Mark: 6.5
Once more, well done to everyone.
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